Twenty years after their first album, the American blues-rock duo publishes a simple and concrete eleventh volume.
In the Black Keys, the most famous blues-rock duo since the disbanding of the White Stripes in 2011, Patrick Carney is the half that instills the shuffle. This dynamic ternary figure that we find naturally in Dropout Boogie, the eleventh album proposed with his childhood friend, the singer, and guitarist Dan Auerbach. A record is worthy of what is expected of them: simple, spontaneous, concrete.
Reached by phone from Nashville (Tennessee), a city where the two forties have resided since 2010, Pat Carney praises a rather effortless philosophy of music. The design of Dropout Boogie was indeed completed in ten days at the Easy Eye Sound studio, that of Dan Auerbach. All-inclusive, the duo has the particularity of writing, performing, and recording at the same time: “We must proceed as easily as possible and get away from the often laborious process of songwriting. It starts with improvisation, for me building a drum loop, and from there open creative paths to build a chorus or a break. Since the initial idea is often the best, designing the music shouldn’t take too long. We realized quite quickly that the best is the enemy of the good. »
Music for archivists
For exactly twenty years, with the album The Big Come Up (2002), this method, contrary to that which dominates today in the recording industry (armies of beatmakers and whole days spent programming digital sound), should have condemned the Black Keys to a few remote haunts still frequented by those nostalgic for the blues. But it is in rock arenas and headlining festivals that the band performs. With a North American tour coming in July.
Isn’t this gigantism detrimental to the essence of their art? “Music has its place in any environment , responds Pat Carney, and only the reaction of the public counts. But I think the ideal size for us is between 3,000 and 4,000 spectators. Beyond that, it gets complicated. “ They will not be two, but six on stage, and these reinforcements are explained by their refusal to ” use programmed sounds “. Champions of the placement of titles in series, pubs or video games, the Black Keys have accomplished a miracle: making music that seemed reserved for archivists attractive to young people.