"Attack and Release" is the Black Keys' sound gone astray in many a way.
Released April 1 on Nonesuch Records, "Attack and Release" is a first for the Black Keys on several accounts. The album is the duo's first to be recorded and produced in an actual recording studio, and this takes a toll on their traditionally low-fi sound.
"Attack and Release" was originally conceived to be a collaboration with the legendary Ike Turner, but then he, uh…well, you know. You can tell where they would have put Ike's influence in some of the songs on "Attack and Release," which is a little depressing. There are definitely some R&B and funk influences in addition to the Black Keys' traditional blues-rock sound, and this would be fine if it were Ike doing the tweaking. But it just isn't the same without him.
In another strange twist, the Black Keys brought in legendary hip-hop and electronic producer Danger Mouse to produce "Attack and Release." This is not necessarily good or bad for the duo, but it can be perceived as an odd move for the low-fi blues-rock purists.
When I first read Danger Mouse was producing "Attack and Release," I was confused. I had no idea why the Black Keys would bring in the mind behind urban classics like the Gorillaz "Demon Days," both Gnarls Barkley albums, DANGERDOOM, The Grey Album, Jemini and others to produce low-fi Ohio blues. I didn't know what to expect.
Danger Mouse's influence can be heard in many ways. A former trip-hop musician himself, Danger Mouse has a penchant for choral and/or Hammond organ drones, and they are heard throughout several tracks on "Attack and Release." Random electronic blips sound off behind the slightly over-produced guitar and drum attacks the Black Keys are known for. Banjos, flutes and bass guitars all make their Black Keys debut through Danger Mouse's hand, which, for the Black Keys, again can be described only as odd.
"Attack and Release" starts with a track called "All You Ever Wanted." Listeners are alerted to the band's sonic shift right away. This song features acoustic guitars tracked under an electric guitar, drenched in reverb tracked under a Hammond, tracked under a thumping bass line, tracked under the drums, tracked under singer Dan Auerbach's soulful vocals. If you notice, the words "tracked under" were highly present in the previous sentence - also very strange for the Black Keys.
The first track gives way into a more traditional Black Keys-sounding track called "I Got Mine." It starts off as a slightly glossier guitar and drum attack by Auerbach and Carney, but that sound is thrown to the wind about midway through the song. At about 1:58 the song enters a realm of blues and trip-hop. There is a backmasked guitar line under two tracks of electric guitar with random electronic blips sounding under an ethereal choir drone - a favorite of Danger Mouse.
The entire album can best be summed up by the first single, "Strange Times." The song starts off with an almost punk-rock riff and a driving, hand-clap-laced drum line. Auerbach sings in his most ethereal tone ever about Jesus and pulling you through a mirror.
There are actually synthesizers present in this track, along with more Hammond, more choir and more oddity. Auerbach is absolutely right when he repeats the phrase "strange times are here" over and over again.
Every track on "Attack and Release" is a departure for the Black Keys. Perhaps Ike Turner would have made the album make more sense, but as a solo effort, it just doesn't seem right. I'm not going to say that "Attack and Release" is a bad album, because it isn't.
It is a clever, Danger Mouse-fueled fusion of blues, rock, folk, funk and trip-hop, but it isn't the Black Keys that we've come to know and expect since 2001. This album is an oddity on so many levels that it utterly confuses the listener.
Strange times to hear indeed. Strange times are here indeed.
caseywelsch@dailynebraskan.com
