Carnival of Soul

The Black Keys are no strangers to radio rock, even if they’re rooted in some of rock’s founding sub-genres. With their ninth record “Let’s Rock,” the band reminisce on their top 40 appeal, but seamlessly amalgamate it with the groove, dirt, and grit of their prehistoric rock roots. While certain songs are structurally akin to anthems like “Gold On the Ceiling,” the ‘staticky’ overdriven rock guitars are more frequent, and easily more favored on “Let’s Rock.” In many ways, the album title and cover art are an obvious hint to these sonic qualities, but it’s fully realized after a proper spin.

From Start to finish, “Let’s Rock” delivers 12 consistent and cohesive tracks, which ultimately feel like an ode to various rock sub-genres. “Under The Gun,” “Lo/Hi,” and “Every Little Thing” display late 60’s early 70’s rock tropes, with “Lo/Hi” being a clear nod to Norman Greenbaum’s “Spirit In The Sky.” Other memorable tracks like “Breaking Down” and “Walk Across The Water” prescribe a small dose of beach rock, and offer a pleasant break from the harder hitting songs.  This homage is never overbearing or cringe like in the sense Greta Van Fleet is to Led Zeppelin, but rather innovative in how The Black Keys breathe new life into long cherished rock sub-genres. Part of this factor stems from singer Dan Auerbach, as well as the record’s production quality. Auerbach’s vocals are soft but clear throughout “Let’s Rock,” and they’re mixed with less filter or overdriven effects (somewhat of a staple on previous Black Keys records). The instrumental mixing is also a wonder to listen to; everything from the snare slaps, guitar twangs, and wispy harmonies sound unique and present in their own space.

As odd as it might be, an issue with “Let’s Rock” is its repeated use of these certain rock and groove motifs. Despite “Fire Walk With Me” being a better song, it uses the same primary groove as “Go,” which is arguably the most top 40 centered and least memorable song on the record. While it’s doesn’t ruin the record by any means, these little elements add up to some redundancy and take away from the more creative aspects. Aside from that, “Let’s Rock” isn’t anything drastically new or revolutionary in the realm of rock. The band utilize a signature cocktail of old school rock meets modern production, which innovates to an extent, but it ultimately leaves the rock ingenuity meter slightly above average.

Overall, The Black Keys aren’t putting on personas or adding fancy instrumentation, nor are they touting a rock masterpiece. If anything, The Black Keys’ legacy is far more the masterpiece than the record itself, as the band are a testament to keeping rock alive in the current music industry. Instead, “Let’s Rock” delivers great and consistent Black Keys tunes from start to finish. It’s enjoyable to where even mild fans would like this record, highlighting the band’s accessibility and widespread appeal. “Lets Rock” is simply a fun and approachable rock album, with the album’s title being a clear indication.