If you thought the new wave of blues rock first kicked up by The Datsuns in 2002 had buried its dog, bellowed its last and done gone died around the release of The White Stripes’ Icky Thump, Ohio’s The Black Keys are here to keep kicking up that down-home desert dust. Ten years and seven albums down the lonesome lost highway from debut The Big Come Up being (wrongly) lumped in with the dense posse of Jack White wannabes, they’ve torn away from the pack, embraced modernity in the shape of fifth album producer Danger Mouse and the 2009 hip hop project Blakroc, cracked the Billboard top five and sold two million albums. They’ve even become soundtrack mainstays. Twilight? Any movie set anywhere near a Midwest dustbowl? Or featuring hick zombies? Or a half-naked starlet chained to a radiator in Tennessee in dirty pants? Meet your new go-to geezers.

They’ve achieved this, all told, by metaphorically slamming every retro button with open palms and enthusiasm. Singer/guitarist Dan Auerbach and drummer/producer Patrick Carney gunge America in the face with everything they know and find sonically comfortable, all at once. On El Camino, mariachi, C&W, gospel, psych rock, blues and soul all mash together into a warm and occasionally dazzling torrent; their appeal is less in fresh sounds as fresh composites of old ones, wrapped around classically dusty tales of errant womenfolk and addiction to love.

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This seventh studio album throws up some fantastic examples: opener Lonely Boy takes base-level Duane Eddy rock’n’roll and layers on Monks synths, gospel blaze and mariachi twangs and ends up sounding invigorated and new, like The The burning alive in the Arcade Fire. Dead and Gone bristles with psych noir classicism, grisly guitar noise and glistening melodies, as if scooped from Tarantino’s scratchiest B movie nightmare. Gold on the Ceiling, all glam handclaps and Rhubarb & Custard synth splats, even does a soul-swathed Glitter stomp around the hoe-down. At times you wonder if this is an album or an all-you-can-eat Americana buffet.

For a record that rummages so excitedly through rock history, though, there’s a paucity of sucker-punch hooks here and, tellingly, it’s when The Black Keys nod to their own blues rock blueprint that they’re least engaging. Little Black Submarines is outdated blues balladry with a turgid Zep second act that seems dug up from a desert grave in 2004; Mind Eraser is a poor man’s disco remix of The Sopranos theme; and Money Maker could be, well, by The Datsuns. No, it’s in the Tornados twangles of Hell of a Season and Lonely Boy and the Supremes shimmy of Stop Stop or standout track Nova Baby that El Camino finds its identity and The Black Keys their new purpose – to reinvigorate rock’n’roll from the roots up. Advantages and disadvantages of metropolitan area network pdf. A heftier dash of melodic sparkle to their churn of genres and next time their meat might match their might.

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Picking up on the ‘60s soul undercurrent of Brothers, the Black Keys smartly capitalize on their 2010 breakthrough by plunging headfirst into retro-soul on El Camino. Savvy operators that they are, the Black Keys don’t opt for authenticity à la Sharon Jones or Eli “Paperboy” Reed: they bring Danger Mouse back into the fold, the producer adding texture and glitter to the duo’s clean, lean songwriting. Apart from “Little Black Submarines,” an acoustic number that crashes into Zeppelin heaviosity as it reaches its coda, every one of the 11 songs here clocks in under four minutes, adding up to a lean 38-minute rock & roll rush, an album that’s the polar opposite of the Black Keys’ previous collaboration with Danger Mouse, the hazy 2008 platter Attack & Release. That purposely drifted into detours, whereas El Camino never takes its eye off the main road: it barrels down the highway, a modern motor in its vintage body. Danger Mouse adds glam flair that doesn’t distract from the songs, all so sturdily built they easily accommodate the shellacked layers of cheap organs, fuzz guitars, talk boxes, backing girls, tambourines, foot stomps, and handclaps. Each element harks back to something from the past -- there are Motown beats and glam rock guitars -- but everything is fractured through a modern prism: the rhythms have swing, but they’re tight enough to illustrate the duo’s allegiance to hip-hop; the gleaming surfaces are postmodern collages, hinting at collective aural memories. All this blurring of eras is in the service of having a hell of a good time. More than any other Black Keys album, El Camino is an outright party, playing like a collection of 11 lost 45 singles, each one having a bigger beat or dirtier hook than the previous side. What’s being said doesn’t matter as much as how it’s said: El Camino is all trash and flash and it’s highly addictive.