Whether it's the tuning of a vocal pitch or the remixing of a guitar riff, the concealing of imperfections through the use of "studio magic" leads listeners to wonder whether the "studio artists" who dominate radio airwaves are capable of performing beyond the confines of their sound rooms. In many a situation, the artists simply cannot recreate the sounds heard on their record in a live atmosphere. More often than not, these artists choose to sing behind pre-recorded tracks or simply not try to duplicate these effects; both attempted solutions result in audience disappointment.
This is why the White Stripes are such a breath of fresh air.
Unlike many of their contemporaries, Jack and Meg have decided to take a stripped down approach to their music, and by relying on nothing but an eight track to record it, Jack's guitar licks and Meg's drums crackle with the electricity and spontaneity that comes with such an intimate approach.
Initially criticized for using gimmicks to draw attention to themselves -- contrasting red and white clothing, guessing games with their fans (husband and wife? brother and sister?) -- The White Stripes broke into the mainstream with their bluesy rock album "White Blood Cells." With the MTV staple "Fell In Love With a Girl" and the country romp "Hotel Yorba," the album was recieved as a critical as well as a commercial success.
Their new album "Elephant" continues this artistic advancement, and it is one of the finest albums to be released in recent months. "Elephant" is a definitive meditation on love, loss and anguish, and although these themes are the cornerstones of nearly all music, The White Stripes have made them sound new with melodic, defined instrumentation. Unlike many moody artists, who equivocate mumbling with musical depth, The White Stripes belt out their melodies and lyrics with reckless abandon. The first song on the album, "Seven Nation Army," surges forth with a sinister, low-register tune until Jack's guitar chord kicks in, overlaying the melody with a sharp riff. Jack uses guitar distortion to dramatic effect on many of the other songs. "There's No Home for You Here" particularly benefits from the alternation between soft melodic tunes and power chords. The song also takes a cue from Queen, and through the use of distinctive operatic choruses throughout, the White Stripes pay distinctive homage to them.
It is, however, the less grand songs on "Elephant" that are the highlights of the album, and although The White Stripes are marketed as a garage rock band, these songs make a good argument for the uselessness of genre labels. The folk song "You've Got Her in Your Pocket" relies solely on an acoustic guitar and Jack's voice, which turns from his trademark high-pitched screech to a soulful croon. "In the Cold, Cold Night" is the first song to feature Meg White on lead vocals, and she delivers her lyrics admirably, singing tunefully over a bluesy guitar rhythm.
Although Jack is clearly the driving force behind the band, having written both the music and the lyrics, Meg is increasingly essential to the band's formula. Her vocal performance on the album suggests that she should be given more chances at the microphone, and although many critics have bashed Meg's drum playing as uneven and amateurish, this is unfair criticism. Like Keith Moon, who also was lambasted by the press for his uneven playing, Meg takes a jazzy, organic approach to her playing. The fact that she does not function as a soulless metronome makes her drumming involving, and Meg gives The White Stripes an emotional, moody edge. On songs like "Ball and Biscuit," which constantly changes its tempo as a means of paralleling Jack's paranoid lyrics, Meg is able to shine as an equal partner in The White Stripes' success.
If there is a weakness in "Elephant," it is the restrictions that the White Stripes have placed on themselves. Although they have pushed the capabilities of the eight track to the limits, their bare bones approach to rock has also prevented them from progressing, and at times, they embarrassingly repeat themselves. "There's No Home for You Here" shares the same melodic verse as "Dead Leaves on the Dirty Ground" and "Hypnotize" sounds satirically similar to "Fell In Love With a Girl."
Imperfections aside however, this album is as solid as it gets, and The White Stripes clearly have mastered their unique merging between blues and rock. They have assembled a collection of songs that flow together well, and also are capable of standing on their own. Their brash, confident playing is sophisticated in its simplicity, and jaded music fans who are tired of the artsy, pretentious noodlings of avant-garde rock bands would be wise to check out "Elephant."
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