JACK WHITE "Frozen Charlotte" Review

I believe Jack White is one of the few musicians who still believes that rock and roll can be reinvented, and that there is still uncharted territory left to explore.

The long-awaited new album "Frozen Charlotte"
First of all, the cover art is striking.
In the artwork by Jack himself, only the skull head is painted in a vivid blue.
The color "blue," which continues from "No Name," seems to have been carried over as a concept this time as well.
It is a disturbing yet beautiful blue (blues) where coldness and heat, life and death, coexist.

While he returned to riff-based rock and roll on his previous album "No Name," he has pushed that direction even further on this record.
However, it is certainly not a simple sequel.
If the previous work was the impulse of Jack White as an individual, this work can be said to have succeeded in capturing the chemical reaction with the band members who toured with him directly into the studio.

I witnessed that band at Toyosu PIT last year.

The four of them were sparking in real-time, and the music changed shape with every split-second decision.
It wasn't a concert reproducing a finished product, but a scene where blues-garage rock and roll was being generated on the spot.
Having experienced that raw groove, I understand the atmosphere emanating from this album very well.

This album contains many songs built on surprisingly simple riffs and chord progressions.
Of course, that simplicity is by no means a lack of ideas.
Rather, because there is space, I feel that Jack's intuition and the phrases that naturally popped out during the session are breathing freely.
I imagine that he probably brought in only the skeleton, and much of what followed was derived while playing.

Yet, it never falls into mere habit.

It's something that someone might be able to imitate, but no one can truly replicate. The way the riffs are constructed and the development of the songs are uniquely "Jack White" and nothing else.
It is also interesting that there are more riffs that push chords rather than single notes.
By having the guitar handle rhythm and harmony simultaneously, the sound has become lighter and more three-dimensional than before.

As a result, the first impression is surprisingly pop.
The roaring sound that seemed to be painted over with fuzz has receded somewhat, and in its place, a well-defined distortion rings out pleasantly.
That said, the gimmick-like effect pedals act as the perfect spice, providing the best seasoning.
The Hammond organ, inserted at the perfect timing, gives the rock and roll the warmth of soul.

The album as a whole is also very well-crafted.

The balance between meticulously written songs and songs with a strong session feel that seem to have been born from the atmosphere of the moment is exquisite.
Without leaning too far in either direction, they stimulate each other and give momentum to the entire album.

And I am also surprised by the amount of information it contains.

Even though every song is a compact size of around three minutes, hooks and ideas—riffs, modulations, breaks, choruses, guitar interplay—come flying at you one after another.
It is by no means additive music.
Even so, by the time you finish listening, it leaves behind a density as if you had listened to the album many times over.

It makes me think, isn't this what rock and roll was originally supposed to be?
He isn't doing anything incredibly difficult. He isn't lining up complex theories. With just a few chords and riffs, it can be this new and this exciting.

When I listen to this record at full volume, it makes me think that the vibration might wear out the record needle faster.

But that's fine.

Jack White's rock and roll is playing while slowly wearing down the world like that.

#jackwhite #FrozenCharlotte


Listening to it alongside the Rolling Stones album released at the same time doubles the excitement.