Posts tagged danger mouse
In a week dominated by Christmas-related albums, El Camino by The Black Keys stuck out like the last Tickle Me Elmo toy on a K-Mart shelf in late December 1996. Even if it’s not, it’s still a good time to check in on guitarist/vocalist Dan Auerbach and drummer Patrick Carney on their seventh full-length release and first since their 2010 hit Brothers.
Sounds Like: Black Keys team up with producer Danger Mouse to open another can of audio blues whoop-ass
El Camino kicks off with a heavily distorted guitar riff and booming drums on opening track “Lonely Boy.” Auerbach’s vocals are howled over a sultry, blues riff and a steady snare drum beat, quickly changing gears to a churning guitar driving the chorus, where Auerbach is joined by a choir of voices. The fingerprints of producer Danger Mouse (whose project with Daniele Luppi, Rome, we reviewed earlier this year) are pleasantly apparent immediately on the next track, “Dead and Gone,” as a chorus of voices ring off in the distance atop the syncopated up-strokes of a clean electric guitar before backing away for Auerbach’s longing vocals. A fuzzy, frantic guitar solo breaks up the song, while the chorus brings back the choir and is further accented by bells and handclaps.
Best Lyric:
“You’re wound up like a weapon / you’ve got an evil streak. / They told me stay away / but I was much too weak.” - “Stop Stop”
The Keys don’t let off the gas pedal as another heavily distorted, palm-muted guitar riff provides a backdrop against a dirty blues riff. Verses see a wide range of of sounds, bouncing from two subtler riffs and bigger, more breakneck benders. A choir again joins the chorus and is accompanied by a return of the synth hook. “Little Black Submarines” will surprise listeners, as the track opens with a softly plucked acoustic guitar riff and Auerbach’s clean vocals. Subtle organs and a tambourine join before fading out. A second later, huge guitars and drums take up a barn-burning rendition. This time, Auerbach is joined by a choir of voices as he laments, “a broken heart is blind.”
“Money Maker” is driven by a machine-like blues guitar riff and steady drum beat throughout the verses, and lets loose to booming chords and a cascade of cymbals during the chorus. A distorted slide guitar is used to lay the hook on “Run Right Back.” Auerbach sings about the uncomfortable subject of running back to a no-good woman (“she’s the worst thing I’ve been addicted to”), over an equally tense guitar riff and terse bass line. These, along with the slide, add up to a great solo following the first chorus and subsequent build-up back into the next verse.
Music video for ”Lonely Boy”
A reverbed guitar riff starts “Sister” and is quickly joined by a steady bass line and tight drum lines. Danger Mouse adds heavy synths over the choruses, layering another dimension to the sound. “Hell of a Season” is very reminiscent of The Clash, driven by steady bass line, syncopated up-stroke guitar riffs, and the like. The pace never lets up until a breakdown at the end, as the up-strokes slow down to a haunting effect, only to pick up again into a sprinting, buzzing guitar solo.
Key Tracks: Lonely Boy, Gold On the Ceiling, Little Black Submarines, Money Maker, Sister, Stop Stop, Mind Eraser
A playful hook kicks off “Stop Stop,” before leaning into a straight-ahead verse riff accompanied by handclaps and drums. Auerbach’s falsetto is joined by a choir over the chorus, dripping with subtle nuances such as bells and another instrument/effect adding a distant, whirring sound to the guitar chords. “Nova Baby” is characterized by the stark contrast between the bare-bones guitar-and-drums-driven verses and the synth-hook driven, more dramatic chorus. “Mind Eraser,” the album’s closer, finds The Black Keys fueling another blues burner. Pounding piano chords drive the opening guitar solo before slowing down into a bluesy groove for the verse. “Don’t let it be over” Auerbach moans, as El Camino fades out on a jam that could seemingly last forever.
Overall Rating:
In short, The Black Keys did not miss the lofty expectations that preceded El Camino. Auerbach and Carney once again demonstrate why they stand alone atop the modern blues mountain. Danger Mouse’s production work adds considerable depth the Keys’ sound and does not overshadow the band’s signature sound in drums and guitars. El Camino is a solid effort from The Black Keys and would have likely cracked our Top Ten Albums of 2011 had we not compiled that list last week.
Rome represents the five-year collaborative effort from Danger Mouse (whose credits include The Gray Album, Gnarles Barkley, and Broken Bells) and Italian composer Daniele Luppi. Born out of their mutual appreciation for music from Spaghetti Westerns (a western film sub-genre that surfaced in the mid-60s), Rome is the soundtrack to a movie that doesn’t exist. Not only recorded in vintage Italian studios, Rome boasts many of the Italian musicians that recorded the original 60s movie soundtracks. And, oh yeah. Rome also features vocals from Jack White and Norah Jones.
Sounds Like:
Danger Mouse & Co. meld classic sounds with contemporary style to create a soundtrack to the most beautiful, twisted movie you’ll never see
Musically, Rome flows like a soundtrack. Much of the album is instrument driven, which in this case, includes the same instruments that recorded the original soundtracks (from strings, organs, xylophones, bells, timpanis, etc. to acoustic and electric guitars with wah pedals). Danger Mouse and Luppi use this talent pool to their advantage, creating a number of different moods, sounds and themes as Rome unfolds like a movie, as intended.
Key Tracks:
The Rose With the Broken Neck, Season’s Trees, Two Against One, The Gambling Priest, Problem Queen, The World
Though Rome does not tell a story per se, there are some common themes, both musically and lyrically. Rome’s lyrics cover a broad gamut of the human condition (life, love, angst, loneliness, etc.) tinged with a dark overtone. Vocally, White and Jones play different characters (with no apparent story), adding to the ebb and flow of the album. Both singers have multiple vocal lines going at the same time during their appearances. This is excellently executed, and to a very eerie effect — some of Jack White’s lower-register vocals sound especially spooky on “The Rose With the Broken Neck.” Songs featuring Jones are considerably upbeat, though no less dark. Jones’ hazy vocals are a stark contrast to White’s angsty yelling. The two never appear together on the same song throughout the album, adding to the image of two characters (say… in a movie?).
Music video for “Two Against One”
Best Lyric:
The world is an open book / Take a look / Welcome to your own views / Your greed is your own hangman’s noose - “The World”
Though I was only vaguely aware of Spaghetti Westerns were before I dived into this album, I was intrigued by the idea. After listening, I have gained some respect for the genre, let alone the musicians. Rome is a very crisp, clean and entertaining album, though heavily reliant on instruments (as vocalists only appear on six of fifteen tracks). This approach may not find broad appeal, but Rome further showcases Danger Mouse’s ability to blend classic sounds into contemporary music and is a great album for fans of those involved in this project.
Overall Rating:
