"Turn Blue" Review

This might already be the title of a children's book, but here it goes anyway: everyone gets to feel sad sometimes. It's easy to watch from a distance and insist on how someone has everything they could ever want. Wealth. Recognition. "What's to complain about? Stop fussing and be happy." It's an all too common conundrum that succesful artists have to face. How do you stay hungry? Dan Aurebach and Patrick Carney, the 21st century's most beloved blues brothers, seem to think they've found an answer through psychedelic experimentation, or at least so they have publicized for Turn Blue, the Black Keys' eighth studio album. Unfortunately, it's going to take a little more than some ambient noise and fuzzed out guitars to patch up some of the holes that are starting to form in the Black Keys' formula. That, what I have just mentioned, appears to be the biggest flaw of all: the blistering passion and supercharged soul of the Black Keys is turning into something stale and formulaic. Additionally, the genuine heartbreak found in their earlier work is starting to be replaced by something less sincere.

Penned by many as "trippy" and "a turning point" in anticipation of its release, Turn Blue really only seems experimental in comparison to its commercially minded predecessor, El Camino. Previous records, like 2008's Attack and Release, and even their 2010 smash hit, Brothers, feel much more liberated and playful than Turn Blue. The duo only step out of their comfort zone at brief, disconnected moments on this album, never amounting to anything greater than a suggestion of something that never arrives. At the 6:20 mark, a hypnotic sounding xylophone and bass combo takes over, mirroring the kind of "far out" imagery that is present on the cover art. It's ominous, and perhaps maybe even indicative of something that can explain their bizarre, quirky promo trailer. Alas, nothing comes of it. Exciting, yet underdeveloped moments like this are scattered throughout Turn Blue. "Year In Review" starts and ends with interesting, sonar-like pitches, but the meat of the song consists of Aurebach eking out lines about a love that wasn't meant to be while accompanied by a chorus of oo-ing and oh-ing soul singers. Tactics like these feel routine at this point, as past hits like "Lonely Boy" and "Gold on The Ceiling" took a nearly identical approach. The variety in lyrical content is scarce, as some of their typical blues tropes ("I'm aching," "heart's rearranged") are starting to get old. The grit and sweat found in standards like "I Got Mine" and "10 AM Automatic" have been replaced by washed out, aimless screaming ("Bullet In The Brain") and a passive attitude ("Gotta Get Away"). Songs like the funky change of pace, "10 Lovers," try to shake things up, but it only ends up adding to the inconsistency. Sadly, while there are some noticeably problematic trends in Turn Blue, there is no underlying theme that connects any of the positive aspects of this record.

And now, being the fan that I am, here come the apologies. Railing against the Black Keys is not something that gives me enjoyment. This album does not take away from the greatness of their previous offerings, their exceptional chops as blues rockers, or their welcome sense of humor (their music videos are ridiculous and awesome). In fact, Turn Blue has several terrific moments. The opening track, "Weight of Love," contains a healthy barrage of mind melting guitar solos. "Fever" is the reliable, up-tempo single that every Black Keys album needs in order to stay grounded. The jungle rhythm vibe on "It's Up To You Now" sounds like a modern take on Led Zeppelin's "Four Sticks." From the lonely piano at the opening to the meandering guitar at the end, "In Our Prime" is gorgeous in its desolation. However, these moments lack unity, as Turn Blue ultimately pans out as a batch of songs that are either hit or miss.

One of the best songs the Black Keys have ever put to wax is the brief, often overlooked "Grown So Ugly," a gem from their tremendous third album, Rubber Factory. Aurebach kicks it off by growling, "I got up this morning/ Put on my shoes/ Tied my shoes/ Went to the mirror/ To comb my hair/ I made a move." Not a whole lot is said here, but the outrage that Aurebach uses to deliver these simple phrases speaks volumes. While it's certainly better than no new Black Keys album at all, Turn Blue possesses neither the heart nor the sonic unity that can be heard throughout most of their discography. Ironically enough, "Grown So Ugly" is a song about identity crises. On Turn Blue, there is no song like this to be found. You can't start fixing the problem until you recognize it.