Adrian Thrills reviews The Black Keys’ new album No Rain, No Flowers. And finds the Ohio duo moving away from funk and back to their raw roots

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THE BLACK KEYS: No Rain, No Flowers (Parlophone)

Verdict: Blues-rockers in bloom.

In their downtime, The Black Keys, a dynamic American blues duo, often host “record hangs” or club nights of their own. These gatherings feature an assortment of classic soul and rockabilly tunes played on vinyl. Musicians-turned-DJs Dan Auerbach and Patrick Carney utilize these events to explore new musical territories.

The darker evenings have influenced their live performances too, leading them to perform covers like Marvin Gaye’s “I Heard It Through The Grapevine” and alter their studio work. Their latest album, released in 2024 titled “Ohio Players,” showcased a blend of pop and soul that some perceived as a departure from their original bluesy, garage-rock style.

In their most recent release, titled “No Rain, No Flowers,” they continue to embody the gritty essence that characterized their earlier albums. The fierce guitar work displayed in songs like “Man On A Mission” echoes tracks from their 2010 album “Brothers” and 2011 album “El Camino.” However, this band is also aiming for mainstream appeal with polished choruses and catchy melodies that will undoubtedly stick in your head.

Previously, the band (originally hailing from Akron but now residing in Nashville) joined forces with Noel Gallagher, Beck, and Alice Cooper on their album. This time, they’ve opted for a different approach by partnering with accomplished songwriters instead of artists. Daniel Tashian, producer of Kacey Musgraves, Scott Storch on keyboards, and musician Rick Nowels have all contributed to the new project.

The influence of Nowels, a co-writer of Belinda Carlisle’s ’80s hit ‘Heaven Is A Place On Earth’, is clear. The title song, which kicks off the album, is a catchy, upbeat anthem that fans will undoubtedly be singing along to in large arenas someday. Auerbach warns, “There are evil people in this world,” but assures us that we won’t have to wait long before we’re back in the sun again.

In the following tracks, the positive vibe persists: “The Night Before,” a lively collaboration with Tashian, and “Babygirl,” a throwback R&B tune heavily influenced by Storch’s organ, piano, and clavichord. Both songs exhibit a cozy, vintage sound reminiscent of an old 7-inch single’s production quality.

In the realm of my unwavering passion, I can’t help but be drawn back to the raw, gritty essence of yesteryears. Down To Nothing, with its 1960s vibe, is a period piece that transports me back to an era where The Black Keys found their roots in the blues. A Little Too High, powered by the Telecaster’s rhythmic pulse, is a stomping journey that immerses us once more in their original, blues-infused world.

As a die-hard fan, I can’t help but be moved by the most profound moments in Dan Auerbach’s music. It’s when he harmoniously blends deep melodies with words that echo pain and remorse that I find myself truly captivated. In the haunting track ‘On Repeat’, he poignantly croons, “Darkness since you left me, heartache as you’ve been away,” while ‘Make You Mine’ harks back to the timeless ballads of yesteryears. In a touching tribute to Smokey Robinson and Motown classics, Auerbach sings, “I’ve wept like The Tears Of A Clown.

If it seems like the album has a gloomy tone, it actually concludes on an optimistic note. The frontman Auerbach and drummer Carney have faced some backstage tumult in the past year, including changes in management and record labels. However, Neon Moon serves as a celebration of a new beginning for them.

‘Auerbach assures us that change is imminent,’ he says. ‘You’ll find your way home again, guided by the glow of the neon moon.’ This single-take ballad encapsulates the essence of a comeback, blending commercial success with a deep affection for blues music.

 

GOOD CHARLOTTE: Motel Du Cap (Atlantic)

Verdict: Worth checking in

Musicians like The Eagles, The Doors, and Elvis Presley have often been associated with iconic hotels – Hotel California, Morrison Hotel, and Heartbreak Hotel respectively. Over time, it’s no surprise that more musicians would follow suit and add their own unique hotels to this musical legacy.

Good Charlotte, an established American pop-punk band, are now found, as suggested by their latest album, at the Motel Du Cap. The name of the album is inspired by a special performance the Maryland group gave two years ago at the lavish Hotel Du Cap-Eden-Roc on the French Riviera. This is their first new record since 2018’s Generation Rx, and that hotel gig played a significant part in its development.

According to Joel Madden, who sings for the band alongside his guitar-playing brother Benji, that particular night was the rhythm of the album. Essentially, it transformed into an expressive message of simplicity, allowing the music to convey its own emotions.

The record shifts attention back towards Good Charlotte’s songwriting, highlighting their musical talents rather than their business ventures and personal relationships with Nicole Richie and Cameron Diaz. As co-founders of their own music management company, Joel and Benji Madden showcase their musical prowess in this release, blending country, rap, and orchestral strings with their traditional sound.

Initially, things carry on as they normally would. As Marcus Anderson, the voice actor, greets listeners with an introductory spoken word, the song Rejects kicks off, reminiscent of the band’s 2002 hit album The Young And The Hopeless, but with electric guitars turned up loud. Given the current resurgence of punky pop among newcomers like Olivia Rodrigo and Reneé Rapp, this comeback feels particularly relevant.

As more guests arrive, things become more diverse. Rapper Wiz Khalifa shifts the tone with the mellow yet hopeful track “Life Is Great,” while two artists from Maryland showcase their home state’s talent: country singer Luke Borchelt collaborates on “Deserve You,” and newcomer Zeph (Zephani Jong) introduces a pop sound reminiscent of bedroom pop on “Pink Guitar.

It seems that Motel Du Cap is an attempt to solidify Good Charlotte’s enduring influence in the music industry. The final track, GC Forever, begins with snippets from past interviews and transforms into a personal, reflective ballad where Joel sings, “We were built to last, we stayed together.” If they manage to include European shows along with the North and South American festival dates, this could mark a meaningful return for Good Charlotte.

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2025-08-11 19:48