What’s being said doesn’t matter as much as how it’s said: El Camino is all trash and flash and it’s highly addictive.
More than any other Black Keys album, El Camino is an outright party, playing like a collection of 11 lost 45 singles, each one having a bigger beat or dirtier hook than the previous side. All this blurring of eras is in the service of having a hell of a good time. Aesop Rock None Shall Pass Zip kartgenerous A short video to show how easy it is to flash new tunes onto the Diavel using the Tuneboy cable and flash software.
Each element harks back to something from the past - there are Motown beats and glam rock guitars - but everything is fractured through a modern prism: the rhythms have swing, but they’re tight enough to illustrate the duo’s allegiance to hip-hop the gleaming surfaces are postmodern collages, hinting at collective aural memories.
Danger Mouse adds glam flair that doesn’t distract from the songs, all so sturdily built they easily accommodate the shellacked layers of cheap organs, fuzz guitars, talk boxes, backing girls, tambourines, foot stomps, and handclaps. That purposely drifted into detours, whereas El Camino never takes its eye off the main road: it barrels down the highway, a modern motor in its vintage body. Apart from “Little Black Submarines,” an acoustic number that crashes into Zeppelin heaviosity as it reaches its coda, every one of the 11 songs here clocks in under four minutes, adding up to a lean 38-minute rock & roll rush, an album that’s the polar opposite of the Black Keys’ previous collaboration with Danger Mouse, the hazy 2008 platter Attack & Release. Savvy operators that they are, the Black Keys don’t opt for authenticity à la Sharon Jones or Eli “Paperboy” Reed: they bring Danger Mouse back into the fold, the producer adding texture and glitter to the duo’s clean, lean songwriting.
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