Matt LuceyOnly 2 months ago, I reviewed a release from the multitalented Jack White. At the time, White had just released a single, “G.O.D. and the Broken Ribs”. This was released was anticipation of an album coming out on July 10th. Naturally, this release was met with significant attention online. Many have hailed this new release as an album of the year quality release. White tends to be heavily involved in every aspect of his releases, from writing to recording to mixing to promoting. Naturally, this results in his released not compromising on his significant vision.
Career, records and accomplishments
I don’t need to speak to White’s accomplishments, given that he has become, if not a household name, certainly close to one. Aside from that, I recently broke down the majority of his career, influence and influences when discussing the single which was released in anticipation of this album. White has been making music consistently throughout his career, both with The White Stripes as well as a solo act. Rarely releasing a sub-par album, critics generally wait with fervour for each release
Lead up to this release
This album has been building in promise since April this year, with the release of “G.O.D. and the Broken Ribs”. This, along with a few other releases, live performances on talk shows and multiple posts on social media, meant that this album definitely didn’t slip under the radar. In addition, the album was released alongside the announcement of a new tour.
Frozen Charlotte – Jack White’s Latest Release
The album itself was, as usual, written and produced by White. Third Man Records, White’s own company, allows him the highest possible degree of creative control possible. As a result, Jack White, more than most, has a very unique sound about his music. Each of the songs sits comfortable in the 3-5 minute range (bar two) making it flow smoothly without feeling over indulgent. The 13 song album sits nicely at the 43 minute mark. The overall theme is almost slightly horror themed, with an overarching unease and minor tones.
“Derecho Demonico”
“Derecho Demonico” opens with a filthy riff that makes you want to headbang along from the start. White’s signature vocal style sits somewhere between singing and speaking. This singing style has followed White throughout his career and is every bit as iconic as his guitarwork. A distorted bass fills out the background, creating an incredibly thick, chunky sound, while the drums keep steady rhythm.
The guitar solo is chaotic and messy (in a good way), making full use of the whammy bar, delay, and fuzz to create an almost ghostly sound. Towards the end, the sound shifts into a jazzy, funky groove. Honestly, this might be my favourite song on the album. It’s quintessential Jack White and, based on viewing numbers, it’s a fan favourite too.
“Thick as Thieves”
“Thick as Thieves” starts, already fully formed, with a descending riff that locks tightly with the drums and bass, which punctuate the end of each phrase with distinctive licks. The vocals enter in the same vein, adding to the rhythm without overpowering it. Although the riff changes throughout, it maintains that descending feel. One of Jack White’s biggest strengths is that, while his riffs aren’t crazy or overwritten, they always match his style. This allows for a great song structure that people can learn without feeling out of their depth.
I would wager that Jack White’s riffs mark some of the most learned riffs in some of the guitar community. Combined with his trademark guitar tone, which balances organisation and chaos, the result is a short, energetic track that serves as a perfect introduction to his style. I would recommend showing this track to a friend to get them into White’s music.
“There’s nobody there”
“There’s Nobody There” begins with a simple riff that rises and falls tonally. Once the song settles into a rhythm, the drums join the mix. While the riffs stays the same, slightly off-beat drumming keeps the rhythm feeling unsettled. White’s gritty vocals blend with the bursts of guitar, feeling like hes letting his guitar lead the way for his voice.
One of my favourite aspects of White’s guitarwork is his signature tone. He manages to get this gritty, fuzzy tone while maintaining clarity. I’ve tried to replicate this sound but there’s no small amount of skill in the playing itself. At a certain point, the guitar tone cleans up and becomes much brighter. This change leads into a burst of energy, culminating in a characteristically Jack White guitar solo filled with short, fuzzy licks. Throughout the song, the central riff establishes the pace, with every other element working to match its momentum.
Conclusion
Overall, this album didn’t break the mold, but it’s an admirable addition to Jack White’s discography. With many positive aspects, creative choices and great tone, I wouldn’t be surprised if this album had some awards coming its way.
