Arabia Mountain - The Black Lips

Even with several albums under their belt, the Black Lips continue to provide listeners with an honest rock & roll sound.

BY VINCENT ALBARANO

This one is my lead contender for album of the year. Maybe the fact that I've only bought three albums that came out this year (one was a reissue) influences that; I happen to like the band also. Either way, this is the one that proves I like some new music. Although the Black Lips (aka the garage band hipsters can like) have noticeably toned down their stage act after ten years together, they still can pack more wallop than any twig-boy indie rock band-- no shoegazing here, thank you. This one seems to be especially notable because most of the tracks were produced by Mark Ronson. I have no fucking idea who Mark Ronson is, other than the fact that he appears to be some sort of hipster celebrity. In the end, it really doesn't matter: the album sounds fine.

On the subject of sound it goes without saying that this album is much cleaner than the group's first three albums, which took cues from the most psychotic, backwoods rave-ups on the Backfrom the Grave comps. Their whole sound has been more polished since signing to Vice a few years ago, but I've been told that songs are more memorable when they aren't buried under layers of fuzz and reverb. The three singles that preceded the album set the work's tone perfectly: "Go Out and Get It" shows the band can blast straight-up rock & roll; "Modern Art" is a garage/psych number that recalls much of their earlier work (debauched lyrics inact); "New Direction" continues in the first single's style (piss off, I couldn't think of anything else). The album also delves into psychedelic work-outs that manage to hold my attention because they aren't nine minute suites with bullshit ethereal solos and meaningless lyrics praised as profound thoughts just because the words sound good together. This is best seen on the album closer "You Keep on Running," which at times recalls the darkest, most paranoid drugged-out moments of Sly & the Family Stone's There's a Riot Goin' On (this wouldn't be a music review if I didn't compare it to a classic, acclaimed album). Other songs touch on country ("Time"), piano-pounding '50s rock & roll ("Dumpster Dive"), and frat rock freakouts ("Mad Dog"). My top pick goes to the sparse, echo-laden "Bone Marrow," which begins with cryptic vocals over a simple drum pattern, and soon adds layers of dueling guitars alternating surf rock licks and garagey chords.

Overall, Arabia Mountain is one of the Black Lips' stronger efforts in a long career with multiple solid releases. Even if it can't quite match the furious brilliance and perfect balance of old influences and modern innovations found on Let It Bloom, it's still a damn good album. It's reassuring to know the Black Lips haven't lost their garage punk edge, even while expanding their musical palate, proving they're leagues ahead of the Sonics-centric groups that seem to populate the genre. If I haven't been clear up to this point (and even I question my abilities), let me put it to you this way: What other album this year has delivered passionate, true-to-form rock & roll?*

*Davila 666, I'll get to you soon.