Black Keys/Let’s Rock

Jason Savio

For an album titled Let’s Rock, you would expect alot more rocking out than there actually turns out to be on the Black Keys’ newest effort. Not to be confused, there are songs here that crank up the power chords, but they don’t explode with the fireworks that you would hope.

Let’s Rock, produced by guitarist Dan Auerbach and drummer Patrick Carney, is the Black Keys’ ninth studio album, following 2014’s Turn Blue. It’s a solid–albeit safe–record. There is nothing particularly noteworthy or memorable. It’s good and that’s not to knock it, but it’s just that: good. 

There are no overtly used keyboards or synths to layer on earworm melodies, not that these guys necessarily need it and they seem happy to shed it. Instead, Let’s Rock focuses more on Dan Auerbach’s guitar and a stripped down, back-to-basics approach. 

“Shine a Little Light” and “Under the Gun” are both breakaway rockers and the sultry “Walk Across Water” features a nice guitar solo in its outro. The duo’s penchant for blues rock is still alive and strong, as heard in the chugging fuzz of “Eagle Birds.” 

Auerbach isn’t the flashiest guitarist and since Let’s Rock is meant to be more of a guitar and drums-centric record, it likely won’t go down as one of the band’s most popular with a mainstream audience. But if you appreciate songs that get to the heart of the matter and aren’t as concerned with all the bells and whistles that others get caught up in, you’ll enjoy this one.

For more information visit: theblackkeys.com.

Frenchy and the Punk/Hooray Beret

Jennifer Russo

This album is fun. It is hard to pinpoint the style, because I found it to be truly unique – a little punk, a little 70s throwback, a little post-modern, a little new wave… all mixed into a beautiful, energy-packed sound hybrid. The songs are charged with feminine energy and the journey to finding truth in a politically charged culture and find a way to stay true to our desires and beliefs despite anything that might try to make us feel otherwise. The songs offer a challenge to not only do this for ourselves, but to inspire others to do the same. 

The first song, “Wah”, is a great introduction to this idea. It speaks of securing the self into a safe space where one can reflect on what it is they really need without the distraction of others’ opinions and pressure to feel included. I listened to this album the first time with my 8-year-old son and we both agreed that our favorite song was “Lanky Bell Bottoms”, a track that is insanely catchy and vaguely reminded me of a Jefferson Airplane kind of vibe, with powerful, storytelling lyrics and delicious vocals. It was kind of trippy and I envisioned a psychedelic and brightly colored tunnel as I journeyed through the song. 

The title song, “Hooray Beret”, brings that punk forward in full force and I just wanted to jump up and down instantly. I can’t imagine anyone hearing this without wanting to move around. It’s an anthem for all those who break through barriers and realize that they actually have a great support network on the other side of people who refuse to be siloed too.

I loved this album – I think it is refreshingly different and sends a great message of authenticity.  

For the official website, visit frenchyandthepunk.com.

Willow/Willow Smith

Mike Wood

Just because she is the daughter of Hollywood power couple (Will Smith and Jada Pinkett-Smith) doesn’t mean Willow debuted with an eponymous album to capitalize on any built-in name recognition. This is Willow Smith’s third record, but it’s the first to be self-titled even as she enlists some musical accompaniment from brother Jaden rapping (“U Know”) and references formidable artists like Kurt Cobain (“Time Machine”) and street artist Jean-Michel Basquiat.

Far from her 2010 meg-hit, “Whip My Hair”, Willow has reinvented herself as an R&B poet of sorts who relies on strumming guitars and dreamy folk-like rhythms to get her message across. At a sparse 22 minutes long, it seems tailored made for the insta-satisfaction generation, giving listeners just enough time to decide if they want to jam with Willow or not. And why not? It’s mellow enough on the surface with just enough bite in its darker lyrics underneath the melodies such as,“Feel like a knife, as it burrows into me” on “Like A Bird”, the album’s opener). 

Willow even laments her generation on “Time Machine”: “Everyone is disconnected these days, ’cause everyone is looking at their phone. Tryin’ to feel like they are less alone and I’m here to tell them that they’re wrong.” Sure, this may be a point that’s been made countless times before by other players, but maybe Willow is the singer of this generation engaged enough with her peers to make everyone believe it’s not her just being preachy, but rather pragmatic advice for getting along in the world. Dreamlike as Willow may be, the artist has her feet planted firmly on the ground and her new sound looks and sounds good on her.

For more information, visit willowsmith.com