The Black Keys are no one-album-wonder: this is the seventh instalment and a result of ten years of damn hard work.
After receiving rave reviews for Brothers in 2010, as well as winning three well-deserved Grammys – including best alternative rock album – Dan Auerbach and Patrick Carney have pushed they’re gritty blues sound threw a ’60s pop car wash and dried it off with a little Mark Bolan glitter-and-glam.
El Camino has quickly risen to the top with over 206,000 album sales in its first week, and the single ‘Lonely Boy’ already at four million views on Youtube.
They’re on to something with this one, keeping their signature keys and scratchy guitars, but adding brand new flavours with extra vocal effects and full gospel-like melodies.
This album has been anxiously anticipated after hearing the boys’ songs features in ad campaigns from the Blues Jays, to Victoria’s Secret, to AMEX. They’re even feature on the soundtrack for the mega-hit franchise, Twilight.
The Black Keys sure know how to dress up an ad campaign, so much so that The Colbert Report did a sketch about how many ads in 2010 the boys’ songs were featured in.
El Camino keeps up with everything that thrilled us about Brothers but also takes new leaps with fresh effects and new influences. The Clash has been cited by the band as a big one on this record.
It’s raw, it’s raunchy, it’s glimmering, and glowing – and in tight leather.
On tracks such as ‘Gold on the Ceiling’ you can actually feel Auerbach’s rock hard boner on your leg, before he glides straight into the sexy stripped down acoustic of ‘Little Black Submarines’.
You shudder with teen age pleasure, you shake like a go-go dancer, and stomp it like an old blues player.
The keyboard gets under your skin and drums throb deep in your bones, leaving you nothing short of extremely turned on.