Turn Blue

This is another step along that path of evolution destined to appear on end of year best album lists, and (ducks from those crazed blues-starved fans of old) it’s quite possibly The Black Keys’ own best ever long player.

Turn Blue is a genuine turning point--into a decisively original rock, with a deeper shade of blues.

El Camino was the sound of The Black Keys flexing their muscles as they reached for that sword, but Turn Blue is the sound of The Black Keys baring their soul and testing the parameters.

Turn Blue, though, is the sound of Auerbach and Carney eagerly and grandiosely taking things into their own (and, if you want, Burton’s) hands.

It's meticulously executed but slightly (and sleepily) monochromatic.

For diehard fans and the inevitable new army of converts, however, this blue period is one to marvel at. [Jul 2014, p.94]

Auerbach and Carney don't tear up their blueprint, but tripping out their sound suits them. [Jun 2014, p.102]

This may be the most raucously uplifting divorce album ever heard.

Turn Blue may not rock as resoundingly as past works, but the added soul in Auerbach’s vocals, and the extra beauty of the tunes, give the album a slow-burn warmth.

It’s surer and more satisfying than either of those previous albums [El Camino and Brothers], and seems less labored.

There's still a two-man garage band in there, but Auerbach and Patrick Carney are currently catering to earbuds rather than stadiums.

The Black Keys' eighth long player isn't loaded with obvious hits, and that's more than okay--because this is a brave, varied and engaging collection of songs.

Songs stretch out longer here than they have on any previous Black Keys LP, but this doesn't feel indulgent due to the precision of the production; things may seem to drift but every bit of fuzz and echo is in its right place.

Turn Blue’s stealth seduction suggests this much: their wrong-footing instincts should keep them on the right track.

For all its musical diversity, Turn Blue never sounds incoherent.

If El Camino was the Keys' catchiest album. Turn Blue turns out to be their sneakiest, subtlest and most seductive. [Jun 2014, p.65]

Turn Blue is pure searing sexiness, hotter than a Nashville afternoon. Their best yet.

As good as they are stepping into that spotlight, it’s hard not to wish they’d plumb the darkness even further.

Over seven increasingly ambitious albums, they refined the approach, and Turn Blue contains their most atmospheric and somber music yet.

Many will look for the moment when they can declare that the group has officially “sold out” or has become so entrenched in success than they no longer try anything new. This album shows neither of these characteristic and although far from a perfect album, the Black Keys have successfully added to their already impressive album with another solid record.

Turn Blue is the most masterful representation to date of the duo’s successful transformation from lost-in-the-milieu garage rockers to game-changing, widely appealing songwriters.

At 11 tracks, Turn Blue doesn't quite fall prey to the late-album bloat of Brothers, but it is still one song too long.

If you were hankering for a return to their garage-rock roots, then Turn Blue is going to disappoint; however, if you’ve liked where the band have gone since Dangermouse came on board, you’ll find plenty to appreciate here.

It all sounds great, but the songs don't sink in, don't push past the surface.

Turn Blue pivots on such low-stakes grooves, the same ones sold so effectively to the mainstream. You could do a lot worse, but that of course is both a blessing and curse.