Retreating from the hazy
Danger Mouse-fueled pot dream of
Attack & Release, the
Black Keys headed down to the legendary Muscle Shoals, recording their third album on their own and dubbing it
Brothers. The studio, not to mention the artwork patterned after such disregarded Chess psychedelic-era relics as
This Is Howlin’ Wolf’s New Album, are good indications that the tough blues of
the Black Keys earliest records is back, but the group haven’t forgotten what they’ve learned in their inwardly psychedelic mid-period.
Brothers can still get mighty trippy -- the swirling chintzy organ that circles “The Only One,” the Baroque harpsichord flair of “Too Afraid to Love You” -- but the album is built with blood and dirt, so its wilder moments remain gritty without being earthbound. Sonically, that scuffed-up spaciness -- the open air created by the fuzz guitars and phasing, analog keyboards, and cavernous drums -- is considerably appealing, but
the Black Keys' ace in the hole remains the exceptional songwriting of
Dan Auerbach and
Patrick Carney. They twist a
Gary Glitter stomp into swamp fuzz blues, steal a title from
Archie Bell & the Drells but never reference that classic "Tighten Up" groove, and approximate a slow ‘60s soul crawl on “Unknown Brother” before following it up with a version of
Jerry Butler’s “Never Gonna Give You Up,” and it’s nearly impossible to tell which is the cover. And that’s the great thing about
the Black Keys in general and
Brothers in particular: The past and present intermingle so thoroughly that they blur, yet there’s no affect, just 300 pounds of joy.