Jack White has a problem: he can’t come up with a decent song. This may not be news, but in the blissful White Stripes days he seemed to have at least a few catchy riffs and hooks up his sleeve. On his solo albums he strives for change, originality and vitality. He increasingly takes his credo “form follows function” ad absurdum.
In fact, the album’s best moments lurk where White doesn’t seem to know exactly what he’s doing
The stoic adherence to analog sound recording and his rejection of Pro Tools and plug-ins seem all the more questionable, the less his songwriting gives. Especially since the impressive arsenal of electric guitar effects on “Fear Of The Dawn” bears stark resemblances to the very studio tinkering it demonizes. In addition, the record is mixed and mastered to such an extent that the difference to digital productions seems marginal. So far, so technical.
“Taking Me Back” goes straight into the full. Octave fuzz guitars, shredded synths and fart-dry drums give a mannered update of White’s heavy rock. But already in the title track, which sounds like an uninspired Queens Of The Stone Age version without the bass, he loses his breath. Even the rapid pace doesn’t change that. “The White Raven” wants to overwhelm with overdriven power riffs and heavy current gibberish, but remains an aimless concatenation of half-baked ideas.
Even more striking: “That Was Then (This Is Now)”, which randomly layers riff on melody on rhythm changes. With a little more drama it would be Prog Rock. In “Hi-De-Ho” White tries his hand at oriental melismas before the song segues into a rap by Q‑Tip. “Eosophobia” is a rabid glam rock wolf in dancehall fur, “Into The Twilight” shot by neon lights could also come from Beck’s “Midnite Vultures”.
In fact, the album’s best moments lurk where White doesn’t seem to know exactly what he’s doing. Which rarely happens to the gifted stylist.
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