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The Black Lips - 200 Million Thousand

Publish Date: June 1, 2009 - 11:11pm

MadeLoud Rating:
2
Avg Member Rating:
2

Atlanta's raucous darlings have tweaked their blend of garagey psychedalia on their newest release, 200 Million Thousand, following 2007's successful Good Bad Not Evil. Extracting and applying different elements of the blues and rock at the most crucial moments helps them create songs that are just barely histrionic and full enough, ringing in those emotions and thoughts that inevitably tie all of us humans together because it's impossible to escape the shit life throws out at us.

Some tunes draw out the whiney-mid 70's inspired vocals of classic bluesy rock and pervert any impact the Rolling Stones may have had, leaving some tunes just barely tolerable. The swaying melody of "I'll Be With You" touts the importance of preserving one's allegiances to another because we all need to support and to be supported. Although the subtle whine the vocals lean on in "Drugs" honors '70s production and rock at that point in music's history, it's just a teeny bit unnerving. Not off-putting, mind you, just a little grating because you can feel the stretch. They try and recover with the plucky guitar intro "Starting Over", pulling their bluesy tendencies to the fore which melds well with Cole Anderson's billowing vocals. The song's high point very likely comes in the last quarter, though, when they push the vocals over the edge and nearly screech about starting over, truly embodying everything that's hard but crucial about it. Alexander's strained bawls lay alongside the cranky backing vocals toward the tune's end to make sure that we're all on the same page, nodding in agreement because life is screwy but those redeeming moments, when they surface, are glorious. "O Katrina!" rings of the Beatles as much as the Stones in its intersection with rock and comfortable up-tempo bursts.

Black Lips truly recover with "Short Fuse," achieving wild spatial elements alongside hearty rock 'n roll circa 1973. All points of the band are well represented here, and no one seems to be battling for the spotlight. The guitars nicely compliment the bass and the drums are hard working in the rear. "Big Black Baby Jesus of Today" points fingers at the inevitability of falling short, and the dirty guitar underscores that no one's alone in that. The melodies throughout "Old Man" are reminiscent of The Mamas and The Papas with a tinge of early Fleetwood Mac, and secure Black Lips' intention of honoring rock's highest points in their own gritty, at-times overcast way.


Recommended Tracks: "Starting Over," "Short Fuse."

-Francesco Camillo

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