Attack & Release BY The Black Keys Reviewed by Tom Faust    The Black Keys were made for this era of “truthiness,” where what you feel to be true is more important than the real facts. I’m no blues scholar, but from hearing the first raw note on their mid-level label debut, Thickfreakness, to the last fuzzed out, lo-fi chord on Magic Potion, The Black Keys have always felt like the real deal. Don’t bore me with facts. This perception was only enhanced by their cover album of Junior Kimbrough tunes, including the recorded endorsement of Kimbrough’s wife.That said, there was some justification for wondering whether the band’s groove was becoming a rut they could not jump out of. The Keys must have had these concerns as well, and decided to bring on star producer du jour, Danger Mouse, for its fifth album, Attack & Release. How would the mastermind behind the brilliant Jay-Z/Beatles mashup, The Grey Album, and architect of “Crazy,” one of the catchiest pop singles of the decade, mesh with the band that made a name for itself with 8-track basement recordings? Would the new Black Keys feature jazz flute? Strings? A human beat box? It turns out that the fears were unfounded. Though his hand is evident, Danger Mouse (wisely) opted for a light touch that sometimes goes unnoticed even when listening for it, and when you hear it, you have to concede that the additions complement the Keys’ sound beautifully. “All You Ever Wanted,” a softer song than the band usually open albums with, starts things off and is followed by “I Got Mine,” a classic Black Keys blues stomper and the first song where you hear Danger Mouse’s influence in the form of a slowed-down interlude with space-y special effects. The album’s first single is the third track, "Strange Times," and Danger Mouse is in full effect. It’s also the first Black Keys track that is an out-and-out rock and roll song. You’ll be hard-pressed to find a trace of the blues on this fast-tempo rocker that, with a few modifications, could have come off of the last Gnarls Barkley album. This is a major shift for the band, but Danger Mouse preserves Dan Auerbach’s signature vocal sound and Patrick Carney’s heavy drums so the song never feels like an experiment gone wrong. Other standouts include the slow and spooky “Psychotic Girl,” that achieves its effect through moody backing vocals, a well-placed, plinky piano riff and keeping the guitar a bit lower in the mix; Two versions of “Remember When”—one a Casiotone-laden tune with a lazy tempo and the other a driving blues rocker; and the best track on the album, “Same Old Thing” where Danger Mouse really flaunts his skills by dropping in, yes, a little jazz flute (eat your heart out Ron Burgundy). “Same Old Thing” truly merges the talents of the artist and producer to create a song that is fresh, classic and utterly compelling. Danger Mouse’s single misstep may be, “Things Ain’t Like they Used to Be,” featuring 18-year-old bluegrass/country singer Jessica Lea Mayfield. An interesting approach but Auerbach’s powerful voice almost entirely drowns out the poor girl. By opting for evolution, not revolution, Danger Mouse brings a new sheen to the Black Keys sound and opens up a host of new possibilities for the band, without alienating longtime fans. When all is said and done, however, Attack & Release is less a great leap forward than a step, albeit a significant one. I was surprised to find myself longing for a little more of the producer’s influence. Still, the album proves that The Black Keys have the talent and confidence to grow artistically, and I eagerly wait to hear their next stage of evolution. |  |
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