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.

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100

Observer Music Monthly

The result is a flawless (post)modernisation of heartland rock that wears its lovelorn pessimism proudly on its ruffled sleeve.

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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]

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]

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.

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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]

The New York Times

While the sound of this blues-rock duo has been fleshed out, none of its grit has been glossed.

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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.

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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.

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PopMatters

For the two Akronites, Attack & Release is a musical grand slam, and their career is one long winning streak.

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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.

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Billboard

Clever but tasteful arrangements and an impeccable shine make songs like 'Same Old Thing' seem anything but.

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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.

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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').

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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.

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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]

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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.

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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.

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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.

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Spin

Mostly the Keys just staple stuff to their good ol' R&B raunch and let 'er rip. [Apr 2008, p.92]

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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.

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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]

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.

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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.

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Los Angeles Times

As it is, it's an encouraging (re)start.

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Q Magazine

Danger Mouse's effect is apparent, the sparse guitar-and-drums template fleshed out with organ and banjo. [May 2008, p.126]

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.

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Magnet

There's precious little invention at work on Attack And Release, and the stench of authenticity hangs heavy. [Summer 2008, p.98]

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.

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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.

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New Musical Express

There’s a fine line between blues authenticity and pub-rock tedium and, accordingly, Attack & Release often falls victim to parody.

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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]

What Our Users Said

The average user rating for this album is 9.0 (out of 10) based on 23 User Votes

Note: User votes are NOT included in the Metascore calculation.

Dan H gave it a9:
Still has that Black Keys feel to it, but manages to evolve their sound into something unique and different from their other albums. A great album with virtually no filler.

Chris B. gave it a10:
Best one yet! I really like their new sound.

Christian P. gave it a7:
Great album that took me by surprise -- I'd never been a fan of these guys until this record. It does start to drag a bit, but overall it's a great listen.

Joe D. gave it a10:
Expanded their sound without taking anything away from the heart of it. Incredible album.

Donnie gave it a10:
Best Black Keys album..seems they are refreshed after Magic Portion and having much fun playing these great tunes..a modern classic.

GW gave it a10:
I think the PopMatters synopsis says it best..."this album IS a musical grand slam and the Keys' career is one long winning streak." Attack & Release has enough of a change in production to make it stand out from Magic Potion and Thickfreakness. This album is a MUST HAVE.

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