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Stars indicate the most critically-acclaimed albums.
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Attack & Release
by The Black Keys
Daniel Auerbach and Patrick Carney release their fifth full-length album, produced by Danger Mouse.
| LABEL: |
Nonesuch |
| RELEASE DATE: |
01 April 2008 |
| DISCS: |
1 disc |
| GENRE(S): |
Rock |
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
100
NOW Magazine
What’s most impressive about Attack & Release is how they’ve raised their vocal and compositional game in accord with the sonic enhancements, bringing an unexpected poignancy to their earthy funkiness. Every track is a stunner.
100
Observer Music Monthly
The result is a flawless (post)modernisation of heartland rock that wears its lovelorn pessimism proudly on its ruffled sleeve.
93
Filter
Attack & Release is a great accomplishment for both The Black Keys and Danger Mouse, who have proven good things can not only last, but sometimes, actually get better. [Winter, 2008, p.91]
91
Entertainment Weekly
Somehow the quirks enhance the power of the desolation at the core, and prove that gut-grabbing and ear stroking needn't be mutually exclusive. [4 Apr 2008, p.61]
90
Delusions of Adequacy
Their soul is in no way hurt by the production but instead, this is one of those many times where Danger Mouse’s production has truly aided in creating a terrific album from start to finish.
80
Mojo
Danger Mouse asked the pair to write songs for Ike Turner and ended up producing the best album of their career so far. [May 2008, p.111]
80
The New York Times
While the sound of this blues-rock duo has been fleshed out, none of its grit has been glossed.
80
Boston Globe
After four self-produced albums, the Ohio-based duo enlists Gnarls Barkley's Danger Mouse to infuse their guitar-and-drums minimalism with a fuller roots-rock feel, and the results are fresh, intriguing, and often inspiring.
80
Urb
From the tip to full metallic thrust, Dan Auerbach and Patrick Carney slap and caress romantic lyricism deep into the tunnels of harmonic structure, curried by Brian Burton’s (aka Dangermouse) rollicking production.
80
PopMatters
For the two Akronites, Attack & Release is a musical grand slam, and their career is one long winning streak.
80
Hartford Courant
With its varied sound and newly expansive songwriting, "Attack & Release" is a bold but entirely fitting way for the Black Keys to prove they know more than one way to make a statement.
80
Billboard
Clever but tasteful arrangements and an impeccable shine make songs like 'Same Old Thing' seem anything but.
80
Uncut
The Black Keys are on the cusp of greatness--Attack and Release, produced by Danger Mouse, takes them one step closer, but not quite over the edge.
78
Austin Chronicle
Enter Brian Burton, better known as Danger Mouse, the beat scientist behind Gnarls Barkley, whose shape-shifting production – from the swelling organ of moody opener 'All You Ever Wanted' to the backward guitar in the heavy blues of 'I Got Mine'--results in the Akron, Ohio, duo's most diverse and subtly psychedelic work to date (just check the flute solo on 'Same Old Thing').
75
Pitchfork
Maneuvering between the King of Rhythm's joie de vivre and their crestfallen, crossroads-blues heritage, Attack and Release subtly expands the Black Keys sound.
70
Blender
Odd touches, from the choir that materializes halfway through 'I Got Mine' to the sonar ping keeping time in 'Oceans & Streams,' add texture yo these impressionistic tales of ramblin' and being done wrong, without ever sacrificing the Keys' raw power. [Apr 2008, p.76]
70
All Music Guide
To be sure, it's an accomplishment and one that showcases the Black Keys' deepening skills but at times it's hard not to miss how the duo used to grab a listener by the neck and not let go.
70
Dot Music
Danger Mouse hasn't commandeered his charges' muse and forced The Black Keys to change, simply encouraged them to co-operate and collaborate for the first time. Clearly, company becomes them.
70
Rolling Stone
Burton was drafted to produce the next album by the group from Akron, Ohio, and the result is the Keys' most multicolored set.
70
Spin
Mostly the Keys just staple stuff to their good ol' R&B raunch and let 'er rip. [Apr 2008, p.92]
70
Drowned In Sound
In the end we’re left with a solid, sympathetically-performed record that only intermittently comes to life, which is either a subtle victory or a hollow triumph of taste over gutbucket soul, depending on which way you look at it.
70
Vibe
Five albums in, the Keys' reference points stay the same--Hendrix, Zeppelin, White Stripes--as their sound, now produced by Gnarls Barkley's Danger Mouse, grows even bigger. [May 2008, p.74]
70
Slant Magazine
The bottom line is that most of the songs here do fit well within the framework of their blues-rock aesthetic, and that's what makes Attack work as a Black Keys album.
67
The Onion (A.V. Club)
Attack & Release falters on the rockers, which sound like the same old Keys, for better or worse. But when Danger Mouse coaxes out the band's soul side on the slow 'n' sexy 'All You Ever Wanted,' The Black Keys suddenly find a way around their self-imposed restrictions.
63
Los Angeles Times
As it is, it's an encouraging (re)start.
60
Q Magazine
Danger Mouse's effect is apparent, the sparse guitar-and-drums template fleshed out with organ and banjo. [May 2008, p.126]
60
cokemachineglow
The title Attack & Release implies the best aspects of the Black Keys’ music, all sweat and hurt and sweat and ecstasy, but the album neither gives nor takes, neither emotional nor sweaty but still clammy-handed.
60
Magnet
There's precious little invention at work on Attack And Release, and the stench of authenticity hangs heavy. [Summer 2008, p.98]
60
Paste Magazine
Wonderful as they are, imagining the 76-year-old “Rocket 88” creator singing the weary gospel of “Remember When (Side A)” or the reflective “Things Ain’t Like They Used To Be” makes Dan Auerbach’s vocals sound tragically demo-like.
60
The Guardian
Danger Mouse brings decent gifts: songs originally meant for Ike Turner; a shimmering sea of flutes, organs and sound effects; a spacious sound that gives a little shine to the rough.
50
New Musical Express
There’s a fine line between blues authenticity and pub-rock tedium and, accordingly, Attack & Release often falls victim to parody.
40
Under The Radar
Diversifying their palette would seem like a good idea, but Attack & Release proves that the more straightforward the better. [Spring 2008, p.74]
The average user rating for this album is 9.0 (out of 10) based on 22 User Votes
Note: User votes are NOT included in the Metascore calculation.
Joe D. gave it a10:
Expanded their sound without taking anything away from the heart of it. Incredible album.
Read more user comments...
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