The Black Keys – El Camino
If you’ve heard the hype surrounding The Black Keys’ El Camino—or even if you haven’t heard it—it’s justified: this is a really good album. Featuring upbeat song after upbeat song, the album clinches the listener’s attention and doesn’t ever let go. The first half of the album, however, is far superior to the second half—yet there’s enough goodwill leftover to make the whole record a solid album.
The Black Keys - El Camino
The album begins with its first single, “Lonely Boy,” which begins with a riff that sounds like an accelerating race car. This effectively sets the tone for the entire album: fast and unrelenting. This isn’t to say this is a heavy rock record—like other Black Keys releases, this is a lo-fi, rock-infused blues album.
The second track, “Dead and Gone,” keeps the energy moving but adds a choir-led introduction that adds both depth and harmony to what could potentially be a minimal rock record. This may upset some fans of the Keys’ earlier music, but to most it will come as a welcome addition. “Gold on the Ceiling” follows this pattern by adding a layered chorus.
Danger Mouse (aka Brian Joseph Burton), a Grammy-winning producer and half of the band Gnarls Barkley, not only produces this record (as he has for the Keys’ previous two albums) but also is credited as a co-writer and collaborator on all of the tracks. Perhaps it’s his soulful touch that give songs like “Dead and Gone,” “Gold on the Ceiling,” and “Little Black Submarines” the extra charge and depth that take this record from the niche into something widely accessible. Whatever the reason, El Camino’s first six tracks are insanely beautiful and catchy.
However, the second half of the album loses its steam. This isn’t to say the songs are bad, they’re still competent pieces that are better than a lot of current music—in fact, some songs, like “Stop Stop,” are even great. The problem isn’t the songs themselves, but that they follow such a flawless opening makes them seem worse than they are.
Another problem with the album is nearly every song ends around the three-minute mark. Aside from the acoustic half of “Little Black Submarines,” there is rarely any variety to the musical approach of the tracks. This isn’t necessarily a bad thing since the songs work, but some more variety in tone, song length, bridges, or structure could elevate this really good album into greatness.
Small problems aside, this is a solid record that deserves the attention it’s receiving. Fans of The Black Keys should find El Camino a bold step forward in the band’s musicianship while new fans will find the catchy tunes and upbeat rock tracks an addicting mixture that’s hard to resist.
Written by Rob Watkins