“You’re gonna find out Everything you need to give for free. To be a sellout!”

That’s Track 1. Jack White’s “No Name” album release, his sixth since the end of The White Stripes, was unconventional for several reasons. It reflected his desire to challenge the norms of the music industry and emphasize the value of physical music experiences.

So, surprise, this album was distributed in the middle of July 2024 without prior announcement. This unique distribution method, coupled with the absence of a publicity campaign and the record lacking titles, credits, or any conventional album art, added an element of mystery and surprise to the release. The album’s title, “No Name,” further adds to this mystery, inviting listeners to focus solely on the music. Initially, the album was released exclusively on vinyl for a limited time, further enhancing its exclusivity and intrigue.

Yeah, I bought it on vinyl.

I loved this approach, as I’m so tired of artists dripping gradually, digitally, what their eventual album will be. White’s decision to release the album exclusively on vinyl for a limited time was a refreshing departure from the digital norm. This unique approach not only made owning the physical record a unique experience but also emphasized White’s commitment to analog formats and his resistance to the impersonal nature of digital streaming​. It’s a testament to his dedication to preserving the authenticity and intimacy of music distribution, positioning it as an experience rather than a mere product.

It’s a bold move that deserves our appreciation.

OK, is it good then?

“No Name”

Oh, hell yes. “No Name” rocks!

“No Name” boldly explores White’s rock and blues style, featuring experimental touches that make it feel fresh and unpredictable. It’s been praised as his best work since The White Stripes, delivering raw rock energy with distinctive production. However, some listeners feel the album’s repetition causes tracks to blend. But don’t let that deter you. The unique sound of this album is something you don’t want to miss. I’d say, off the bat – it’s a package.

The album starts with Old Scratch Blues, immersing listeners in a swampy blues sound that captures the rawness of White’s early work. White’s haunting vocal quality creates an atmosphere of temptation and eerie dealings. It brings me to Led Zeppelin. It is blues rock at its finest, establishing immediate thematic consistency. The song evokes the feeling of a deal made at a crossroads, reminiscent of classic blues mythology, and lingers long after the final note. The vocal delivery, which ranges from a murmur to a growl, captures the duality of temptation and fear, themes that run like a thread throughout the album.

Switching into garage rock mode, we move to the delicious Bless Yourself, which has an upbeat tempo and a jangly guitar riff that initially lifts the mood. With lyrics like “People say, “I need God on command! God on demand! If God’s too busy then I’ll bless myself!” The catchy chorus makes it one of the more approachable moments on the album, providing a break from its darker undertones. The sarcastic lyrical content adds a layer of complexity, making the song resonate with listeners who appreciate White’s tongue-in-cheek approach.

“When it’s cold outside, I need the strength to stay alive. And when I’m in my home, I need the strength to be alone” is part of the following track, That’s How I’m Feeling – simple yet effective, with instrumentation that gradually builds tension to match the emotional rollercoaster of the lyrics. It’s a straightforward rock beat, but the song’s climax, with intense guitar work, mirrors the emotional release of confronting life’s inevitable ups and downs, making it one of the most relatable tracks on the album. It’s one of my favorite tracks on the album.

He lightens things up slightly with It’s Rough On Rats (If You’re Asking). “As bad as we got. It sure must be rough on rats.” White’s sardonic vocal delivery adds humor and sharp social commentary, making the track memorable. We live in a world where everyone struggles to stay afloat.

Archbishop Harold Holmes exemplifies White’s talent for storytelling in the mold of him portraying a manic preacher spouting salvation over a repeating, scuzzy guitar riff: “Hate is trying to take someone else’s love for yourself, but I’m here to tell you that love is trying to help someone else.” Bombing Out is a dark, urgent track with pulsating bass and jagged guitar. Through impassioned vocals, White explores themes of failure and resilience. The raw energy and gritty production make it one of the album’s standout offerings, with imagery of falling and rising again reflecting the recurring theme of perseverance in White’s work. The track thrives on raw energy and leaves a lasting impression.

What follows is my absolute favorite track on the album—and this is just the end of Side 1! What’s the Rumpus? combines frenetic rockabilly with gritty garage rock and playful energy.

Its playful lyrics and frenetic pace showcase White’s love for chaos and revelry. Its infectious energy makes it an enjoyable addition to the album. I love the playful lyric: “I’ve got a feeling that the truth’s become opinion these days. That train has left the station but our love will grow. It’s floor to ceiling unappealing but who cares what they say. ‘Cause it doesn’t matter who, it only matters what you know.”

Turning over, Tonight (Was A Long Time Ago) begins with a “One, two, three, four” and continues with the heavy garage/riff rock. Some may say that the repetitive use of similar instrumentation and vocal delivery across the album slightly dampens the track’s impact.

But I think that is what makes this album so fantastic. It blends so well.

Underground is just rootsy, bluesy fun, which vibes with this record. Number One With A Bullet is a high-energy, punk-inflected track. With that edge and vibe, it could have been on a White Stripes album. “I can teach you the way so that you can try to teach yourself now. If man can learn to fish in a day, then he can learn to fish himself out.” I feel like I’m listening to it in some sort of New York underground rock dig.

Morning at Midnight takes an experimental approach, with abstract lyrics exploring the uncertainty and passage of time. “You know it’s morning at midnight. But there ain’t no sun. So what you need to do, well, you’d better get done, yeah.” While the track may struggle to differentiate itself from other moodier pieces on the album, the reverb-heavy guitar highlights Morning at Midnight‘s dreamlike quality, creating a sense of space and depth. “Walking through the morning. Stuttering and stalling. Catch me when I’m falling. Oh yeah.”

A bluesy, hard-hitting track with a powerful guitar riff and steady beat, Missionary is a lot of fun. The very opener: “I’m backseat driving when you’re driving me crazy. But I can’t drive a stick, ahaha.” White’s vocals convey determination as he tells a story of conviction, but here, I kept thinking, “JACK IS DOING THE WHITE STRIPES WITHOUT MEG!” Hahaha, it’s just a fantastic song.

We finish with Terminal Archememy Ememy, a heavy rock song that’s both funny and serious. It’s a slow burn that culminates in the album’s high energy.

The haunting guitar melody sets a somber tone that gradually shifts as the track builds, leading to a powerful crescendo. It reflects on conflict, resolution, and change, providing a fitting thematic conclusion.

“How do you feel when you felt it all now?
And how do you see when you’ve seen it all?”

“No Name” is a testament to Jack White’s consistent dedication to his craft, reaffirming his place in the rock music landscape.

9.5/10

Chris Garrod, October 19, 2024

And if I close my eyes, oh yes, I can almost hear you, Meg. ;-D