The White Stripes - Get Behind Me Satan

Since their self-titled 1999 debut, Jack and Meg White have made a name for themselves with a decidedly minimalist approach to rock and roll and wonderfully strange lyrics that have piqued the interest of critics and fans alike. With their fifth effort, Get Behind Me Satan, the Stripes deviate from their traditional guitar and drum formula to create an eccentric, diverse album that showcases a previously unexplored amount of musical depth. On this record, Jack White takes the bluesy guitar stomps listeners have grown accustomed to and translates them into an entirely new musical language. There is still an abundance of powerful riffs, but they are predominantly played by instruments other than electric guitar. Piano, marimba and other assorted percussion instruments govern the musical landscape to rousing effect. In fact, the weakest tracks on the album are those which adhere to the Stripes’ typical sound. The diversity of instruments employed here allows the band to dabble in a variety of musical styles. From the insanely catchy Motown vibe of “My Doorbell” to the backwoods hillbilly glee of “Little Ghost,” the Whites succeed in exploring many parts of American musical tradition. Though the band’s sound has evolved, that hasn’t kept the Whites from indulging in their trademark twisted sense of humor. “Take, Take, Take” (with its electrifying tempo changes) is a perfect example of this point and is the most lyrically bizarre track on an album that covers a wide assortment of topics (Rita Hayworth, the supernatural, romantic betrayal and what Wayne Coyne once referred to as the Whites’ “modern, backwards, liberal family code”). Get Behind Me Satan is a collection of seemingly unrelated threads that weave together to make one of the most weird and extraordinary albums of 2005. This record will enhance The White Stripes’ reputation for bizarre genius and should make listeners eager to see what the pair will dream up next. [www.whitestripes.com]