Icky Thump, which is a slight modification of an English equivalent of c’est la vie, is another masterpiece in minimalist rock from the ever-experimental White Stripes. It signals a return to the pre- Get Behind Me Satan style of the duo, with heavy, dirty guitar rhythms and wildly uninhibited solos, complemented by cymbal-laden drum work and further exploration into the world of alternative instrumentation.
Opening with the thrashing-snake-in-the-hands-of-a-drunken-Mexican that is Icky Thump, the Stripes have laid down yet another pounding riff that will linger in the heads of many a listener. The menacing inclusion of a moody stylophone, which until now had been relegated to the realm of forgotten fads of the past, brings a sense of electronic anarchy to the mix and really tops off what is an already angry, thrashy song – *Jack White*’s outraged vocal delivery ranks as among his best.
In a move that scared the music world when they heard of it, the recording process included a trumpet section (played by the non-English speaking Regulo Aldama), but this is utilised magnificently in the cover Conquest, a tale of romantic pursuit that becomes a Spanish war song in the hands of White, thanks to his battle cry chorus that is juxtaposed so nicely against the dirge-y, heart-pounding bass drums. Throw in a call and response between escalating guitar and trumpet and you have an exciting role reversal in the typically male dominated contest of love, where “the hunted became the huntress/the hunter became the prey”.
It’s clear that The White Stripes’ creative process is dominated by Jack. In interviews, his vision and ingenuity is obvious as he discusses his band’s music-making doctrine and dedication to breaking new ground. On the album, the feel is raw and energetic, with minimal production interference – the end result making the listener feel part of the magic and the music feel so immediately invigorating. The drumming of Meg White, while simple and the target of much derision, is exactly what it should be. The steady thump and crash as Meg methodically works the skins gives Jack the room he needs to run havoc and create particularly distinctive and highly unusual melodies.
Their creativity and penchant for edgy rock makes The White Stripes incredibly refreshing in a market dominated by indie bands reaching for production perfection, most of whom don’t come close to the vibrancy and resonance to be found on this album. That said, it’s also White’s ability to turn a phrase that makes Icky Thump worthwhile. You Don’t Know What Love Is (You Just Do As Your Told) is immediately accessible through it’s painfully honest opinions of the subject’s relationship subservience, and is of course assisted by its danceable and radio-friendly arrangement. In the pertinent album closer Effect & Cause, which finds significance politically, socially and personally, the Stripes get in touch with their folk roots, relying on the intelligence of the lyricism and hook of the melody to take a swing at narcissistic illogic: “you’re like a little girl yellin’ at her brother/because you lost his ball”.
Ultimately, The White Stripes have again shown that they deserve staunch support. Whilst Icky Thump may not enjoy the commercial success of its predecessor, it has a delightfully playful spirit, shown through songs like Little Cream Soda and Rag & Bone, and continues the Stripes’ celebrated tradition of risk-taking, with mixed success – the morose 300 MPH Torrential Outpour Blues is too stark a contrast point and St Andrew is just a tad pointless. They pursue music as a true art, which is rarely more evident than in the album booklet, which begins with a cleverly penned introduction and ends with the thankyous written as an enormous, complex poem. At a tad over 45 minutes, the end product is a superb foray into the weird and wonderful world of the Whites. The message is simple: life is beautiful – icky thump.
NiteShok
said ages ago