Erika Wilhite
Published: January 9, 2006
Get Behind Me, Satan is, without a doubt, the White Stripes’ most confounding, bewildering record yet, and possibly their boldest. The Stripes, industry darlings and the poster children for the Detroit garage punk movement, have a track record of bizarre, unorthodox albums, each one different from the last but always within the tight confines of their let’s-be-friends, red-white-and-black, purposefully childlike style.
But Satan is such a far cry from their self-titled debut, or even the more refined De Stijl, that a first-time listener might not realize they were hearing the same band. Following 2003’s Elephant, which might now be regarded as their transitory album, Satan is simultaneously morbid and whimsical. Unlike earlier albums, there are no innocent, optimistic tracks – no “Apple Blossom” or “We are Going to Be Friends” to lighten the mood.
“Blue Orchid”, the album’s opener, faithfully follows the Stripes’ incredible streak of hard-hitting, catchy singles. It’s fresh, venomous and spiteful, made memorable by Jack White’s trademark falsetto and mastery of eerie, processed guitar contortionism.
Satan is a mishmash of styles and genres. Unlike earlier albums, the electric guitar is all but forsaken in favor of pianos, acoustic guitars, marimbas and – well, “marimbas” pretty much says it all.
Songs like “The Denial Twist” and “My Doorbell” are hard and funky, contrasting sharply with the simple, countrified “Little Ghost” – a descendant of earlier songs like “Hotel Yorba”. Songs like “White Moon” and “Take, Take, Take” seem to credit White’s time spent on the production of Loretta Lynn’s album, mainly as a representation of the influence Lynn had on him.
Satan feels rushed and choppy in places, and certainly lacks the careful pacing of White Blood Cells and Elephant. In fact, it’s practically guaranteed to alienate many of their fans. But overall it represents a bold new change in the Stripes’ sound. They broke their own mold.