Review Summary: More pain, more power.
The Black Keys had it rough last year after the release of
Ohio Players. They were forced to cancel an expansive North American arena tour due to poor ticket sales, leading to a sudden management and PR change as well. Instead of letting things cool off, they headed right back to the studio and booked more intimate venues. A handful of prolific songwriters and producers joined them, including Daniel Tashian, known for his work with Kacey Musgraves, Tim McGraw or Demi Lovato among others, plus Rick Nowels (Belinda Carlisle, Madonna, Lana del Rey, Fleetwood Mac) and Scott Storch (Beyonce, Snoop Dogg, Dr. Dre). The resulting record,
No Rain, No Flowers is their most focused and polished affair to date. In a way, it makes sense, as they have been flirting with this direction lately. The main issue with their post-hiatus LPs was maintaining the momentum from start to finish. There were always a handful of strong tunes present, however, at some point the guys would run out of steam. Unfortunately, to a certain extent, this latest collection of songs suffers from the same curse. Nevertheless, the shorter length, especially compared to its predecessor helps, whereas the rich production keeps the flow going. The title track comes across as a lovely disco-infused number with lush vocal harmonies and an uplifting melody. A nod to the recent issues perhaps, signaling they are ready to move on. Meanwhile, “The Night Before” and “Babygirl” boast a solid round of trademark rhythms, only with an emphasis on pop sensibilities.
The record’s middle stretch features a string of more pretentious material, which they pull off with a bit of help from the producers. The Desmond Child assisted “Make You Mine” is the centerpiece, containing traces of Isley Brothers in its melancholic piano lines, alongside a gorgeous orchestral treatment and soulful background vocals. Also, “Kiss It” and “On Repeat” share sunny ‘70s California vibes with steady drum beats, Hammond organ touches, as well as discreet guitar chords and silky leads. The smooth production augments the already layered instrumentals, making them a joy to listen to. In between them lies “Man on a Mission”, the sole cut where the distortion gets cranked up. The straightforward riffs with less flourishes around them render the track closest to the usual Black Keys output. From here, the album meanders a bit, yet manages to maintain a solid presence.
No Rain, No Flowers ends up their most mature effort to date, going all in on the production value and assisted songwriting. The classic, soft rock direction instilled by the veteran session musicians and producers crafted some beautiful moments. Although the garage vibe of their records is what shaped their identity, shaking things up didn't hurt. It’s an LP that would have seen the light of day at some point, so why not now.
