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Mixing nasty guitar leads with cavernous beats, the Black Keys have crafted a dark, sprawling opus that's convincing in its commitment to a unique sound.
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Hearing rappers coming from this musical sphere is a refreshing novelty however, and the record is definitely one of the most interesting, if not exceptional things to emerge this year.
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The album feels genuinely organic, a common ground of moods rather than a forced fusion.
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The loose, spontaneous nature of the exercise means there's the odd dud, but there are far more hits than misses. The result? A dead concept is temporarily revived.
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Even if the lame parts of BlakRoc are more noticeable than the enjoyable, what really sticks out is how easy this all feels--- not once does anything feel like awkward ambassadorship.
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Q MagazineA hip hop album of raw and unusual playfulness. [Jan 2010, p. 118]
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Unlike many similar projects, this one doesn't seem overly impressed with its own novelty. A good thing.
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Without a doubt, Blakroc can be considered a gamble that has most certainly paid off; this is the most credible fusion of the two genres in a long, long while.
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Dash and the Keys score an undeniable win by keeping the samples homemade and the production pared down, and by hand-picking collaborators who know how to sink into a groove.
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Together, they have crafted a succession of enormous, swaggering grooves and mostly Âcompelling raps about rock and rap staples such as sex and drugs and cash.
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Its sound is hard but loose, rooted in sinewy beats by Patrick Carney, the Black Keys’ drummer, and spooky riffs by Dan Auerbach, its guitarist and singer.
User score distribution:
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Positive: 15 out of 15
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Mixed: 0 out of 15
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Negative: 0 out of 15
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D.P.Dec 3, 2009Good Album, although some of the songs are lacking. Its a good combination of blues-y rock and rap. Coochie wasn't great though.