The Black Keys evolution from gritty garage blues minimalists into fully fledged rock superstars came full circle following the runaway success and arena sized hooks of 2011’s El Camino. In truth the duo’s sonic expansion dates back to 2008’s Attack and Release, their first album enamoured with Danger Mouse’s production. This lasting collaboration continues to pay fruitful dividends as Danger Mouse’s familiar sonic fingerprints are all over the band’s eighth studio album, entitled Turn Blue.
There’s a valid argument that Danger Mouse production jobs are becoming a tad too familiar and predictable, yet there’s no doubt that his partnership with the duo of Dan Auerbach and Patrick Carney has played a key role in their necessary progression from the raw blues-rock crunch of their outstanding early releases. Danger Mouse is now more or less an honorary third member, lending the album his usual slick production polish, sharing song-writing credits, and circling Carney’s thumping beats and Auerbach’s smoking guitar work with prominent keyboards and synth effects.
However, Turn Blue is in many ways a much different album to its predecessor, and the exact kind of album the duo needed to follow-up the adrenaline charged El Camino. For all its rocking fun and catchiness, El Camino lacked a bit of depth, while the song-writing had a sugar rush effect that struggled to make a lasting impression once the album was over.
In contrast, Turn Blue finds the duo crafting an eclectic, moody and melancholic opus, featuring an honest, heartfelt lyrical turn that strongly alludes to Auerbach’s recent divorce. While The Black Keys have never really been noted for their lyrics, generally taking cues from the classic playbook of blues lyricism, there’s definitely a more personal, heartfelt slant to Auerbach’s lyrics and delivery, making for a more emotive performance than what the duo usually deliver.
Leadoff track ‘Weight of Love’ is a slow burning blues number marking the longest song of the duo’s career. Expertly crafted around smooth tempo shifts, a strong vocal and smouldering guitar work, the song is a resounding success and immediate highlight. It’s refreshing to hear Auerbach really cut loose with some of his most expressive soloing to date.
The bass-heavy groove of ‘In Time’ and scorching rock and fat beats of ‘It’s Up to You Now’ are closely linked to El Camino, yet notably darker and bluesier in tone. The slinky title track is another killer tune, its hypnotic and soulful tone bookended by Auerbach’s stellar vocals and downtrodden lyrics. Meanwhile, although leaving a rather underwhelming initial impression, first single ‘Fever’ grows in stature over time with its straightforward disco groove and addictive chorus. However, it’s certainly not an indication of what to expect from the rest of the album, nor is it one of Turn Blue’s stronger cuts.
Turn Blue doesn’t lack in the variety department, and although the album generally maintains a moody, downbeat vibe, the swirling psychedelia and eclectic edges makes for a weirder and less predictable trip than we have come to expect from the duo. The laidback opening twang of ‘Bullet in the Brain’ develops into a vibrant psych-prog odyssey that is both adventurous and engaging.
After the restrained, downbeat haze of ‘In Our Prime’ subsides the band throws one last curveball in the shape of closer ‘Gotta Get Away’. Ending a rather sombre album with a swinging slice of upbeat classic rock ‘n’ roll beamed in from a 70’s time capsule is a surprising and well executed move, concluding the album on a catchy high note.
Following the massive attention The Black Keys gained from El Camino, it was always going to be interesting how the duo would play their next hand. Fortunately plenty of creative juices continue flowing in their durable tank and while it may not be their strongest album to date, Turn Blue is certainly the most daring and introspective album of The Black Keys career, peppered with strokes of brilliance and dark, soulful grooves.
8.5/10
Reviewer: Luke Saunders