It was on the 2nd of August that Jack White released his sixth studio album, No Name. Underneath the dark and saturated cover lies an album ready to roar. Review.
NO NAME – JACK WHITE
Jack White is probably one of the most respected artists of his generation, and for good reasons, as he got No Name to roar in August. Of course, it’s a fascinating, technical and rich record. Because no one would expect less from him, not even himself. The level of expectations he imposes on himself is felt throughout the whole record, in each riff and each line. Old Scratch Blues does come from blues, but it also belongs to the sharp garage rock Jack White plays with. The rest follows in a very similar fashion, with the powerful and passionate Bless Yourself!
Then, of course, the man in black and blue perfectly balances his rhythms. The intoxicating That’s How I’m Feeling? That’s a banger! If Jack White plays the keys and drums too, he also surrounds himself with brilliant artists, such as Olivia Jean, Dominic Davis, Dan Mancini, Daru Jones, Patrick Keeler and Quincy McCrary… On several tracks, he proposes some epic and electric solos (It’s Rough On Rats (If You’re Asking)), while others are a tad more classic (Archbishop Harold Holmes). Even if I expected it, it sparks something. The dark soul of this sixth solo album is hypnotic, and maybe Bombing Out and its dirty, raw and honest sound is its best incarnation.
What’s The Rumpus? and Tonight (Was A Long Time Ago) also have plenty of energy and textures to offer, but there’s something calmer coming. Just enough to bring in Underground and its seemingly upbeat blues. And later the great progression of blues-punk, Number One With A Bullet. Everything takes off again with the bright Morning At Midnight and the simple but effective and wonderfully sexy Missionary. To close No Name, Jack White pushes textured sounds further to catch a dash of psyche felt mainly in the intro of Terminal Archenemy Endling. So, is this record as good as we could hope? I do believe so. Neither too easy nor too hard to get into for anyone trying it, it’s a balanced record that really highlights everything I adore in White’s work. Contrasts and textures.
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