Posts Tagged ‘dan auerbach


Black Keys Kick Out A Friday Jam

20140321-blackkeys-x600-1395439282It ain’t over till it’s over. So fucked up how the world works – you take work home, some fucking brain-meltingly gigantic piece of hell you have to work through and guaranteed, fucking guaranteed, your kid cries all night.

I walked around with my daughter in my arms for an entire fucking hour 12.30am to 1.30am. My shoulder is fucked. You think lifting weights fucks you up? Try just holding an 8kg weight for an hour and we’ll talk.

Anyway, let’s just play this Black Keys track off the new album and try to put it all behind us for a day or two. The Black Keys understand. They got your back home-boi.



Ok, now it’s over.

Go home, get some fucking sleep, you look like shit.



Treefiddy Review: The Black Keys – El Camino

BlackKeys_DannyClinch_150The Down Lizzo:

Two years ago you had no idea who they were, then Brothers dropped and their muddy, garage-blues slowly started creeping into your life.

So you got your mitts on the album and before you knew it, you were telling everyone that would listen about how much you love The Black Keys (you still haven’t heard anything earlier than Attack & Release though).

And now you find yourself reading this to find out what your Tiger pal thinks of their new album, El Camino, even though you probably already own it.

Well, I fucking love it, and here’s why.

Sick Tracks:

Instead of folding under the pressure to produce a worthy follow up to Brothers, Pat (Carney) and Dan (Auerbach) stepped up to the challenge, got into studio with Danger Mouse (the producer behind Gorillaz’ Demon Days, Gnarles Barkley’s St Elsewhere and the Black Keys album Attack & Release to name a few) and proceeded to record one of the best albums I’ve heard this year.

From the rusty guitar riffs and insanely catchy chorous of “Lonely Boy” to the righteous, foot-stompin’ grooves of “Sister” and the almost Zepplinesque prog rock ballad that is “Little Black Submarines”, the Keys keep the monster hooks coming and pull no punches in this noteworthy follow up to Brothers.

And don’t even get me started on “Gold On The Ceiling”, which emerges like a mutated Thin Lizzy track bursting at the seams with hand-clap percussion, skuzzy organs and a pre-chorous that sounds like it was written specifically for strip club scenes in Robert Rodriguez films.


Should You Give A Shit?

Damn straight you should give a shit! In fact, stop fucking around reading this, go out there and buy this album if you haven’t already.

Does it live up to Brothers? At 11 tracks and 38 minutes, unfortunately it will never be able to top the 15 track masterpiece that was Brothers simply because there’s less of it.

HOWEVER, El Camino is sheer filthy, raucous, soulful, ballsy, unrepentant rock ‘n roll the way God himself intended it, so by all means give it a spin or two and you’ll quickly see why I fucking love this album.

Here’s a teaser in the meantime. It’s called “Sister” and it goes a little something…

Like this Winking smile



Final verdict: 9/10


Album Review: The Black Keys – Brothers

I can’t tell you how badly I’ve been itching over the past two months to write this review. Usually if an album’s older than a month I won’t touch it because this is the internet goddamnit! If you miss something by even a week, it’s dead and buried.

I’m making an exception in this case though for one simple reason: this is an album that will go down as one of rock music’s finest and as such, it doesn’t matter if I post this review now or two years from now, this album is timeless and will sound just as good then as it does now.



There’s a universal formula that you can apply to most bands almost without fail. The first album comes out rough and ready, gets a few people talking, has one or two singles but otherwise doesn’t make much of a splash. A decent producer gets a hold of the band and turns the second album multi-platinum and suddenly they’re everyone’s favourite overnight.

By album number three, the pressure’s on. The band changes its sound, loses half its fans and spirals into a dark period of drug-fuelled loathing and embarrassing moments at awards ceremonies.

Then a few years later they bang out a couple more albums that deal largely with how they kicked the drugs, how much they love their long-suffering wives and what being a dad is like, by which stage no one really gives a rat’s ass anymore.

The Black Keys are not that band. Since their debut The Big Come Up back in 2002, they have steadily gotten better and better with each successive album, continually exploring and pushing the boundaries of the blues rock genre, picking up from where legends like Robert Johnson, Junior Kimbrough, Screamin’ Jay Hawkins and Hendrix himself left off, fine-tuning that sound and making it their own.



Right from the first few seconds of the opening track “Everlasting Love”, the foot-tappingly infectious grooves that define this album strut confidently to the fore and make it known that what you’re listening to is fucking cool, plain and simple.

The tone throughout the album is so mind-blowingly warm and authentic, it almost sounds like you’re listening to vinyl. Not only is it blues rock the way it was meant to be played but, more importantly, it’s blues rock the way it was meant to be heard.

“Next Girl” comes on big and bold, strapping its fists like a prizefighter going into a bare-knuckle brawl which, considering the song’s written about an ex-girlfriend, speaks volumes about how expertly the duo understand and handle their material.

If you’re going through a nasty break-up, there’s a good chance “Next Girl” will instantly become the best song you’ve ever heard in your life. Auerbach’s riffs tear through the rhythm section with the kind of subtle menace every man’s felt at some stage in his life when contemplating what a bitch his ex was.



It’s poetic in its simplicity “My next girl / Will be nothing like my ex girl / I made mistakes back then / I’ll never do it again.”

It’s an album that shifts gears fluidly between upbeat, big drum, fuzzy guitar riff-laden monsters like “Howlin’ For You” to slower, more sincere blues-driven tracks like “Unknown Brother” and the awesome cover of Jerry Butler’s “Never Gonna Give You Up” (not to be confused with the Rick Astley song of the same name that’s only cool because it’s crap) and somehow manages to stay solid as a rock throughout all 15 tracks.

I usually take great joy in slating the songs that piss me off on an album, even the albums that I really love, but the honest truth here is that on Brothers there are none. Auerbach and Carney keep Brothers lean and mean, which makes for a refreshing change from albums that have three great tracks and nine shit ones thrown in as pure filler.

My expectations were set high right from the start with Brothers, and it still managed to surpass them which basically never happens.


Brothers is a sure-fire winner in my books and definitely gets my vote as the best album I’ve heard this year so far. I’m leaving you with “Next Girl” for you to decide for yourself whether this album is everything I’ve hyped it up to be.

Enjoy 😉



Final Verdict: 9/10