Even the album's most outwardly playful song, the bluegrass-tinged "Little Ghost", features a narrator so desperate in his isolation that he falls in love with an apparition. Still, a slight sting of venom appears to suit Jack well, and-- perhaps as testament to his time spent with Loretta Lynn-- Satan finds him delivering his most expressive and nuanced vocal performances to date.
Oddly, two of the album's most jarring tracks are among the few to feature electric guitar. The opening "Blue Orchid" maintains the Stripes' impressive streak of stellar singles, as Jack's wild falsetto and processed, strangely electronic-sounding guitar combine for a heightened, spiteful crunch that's unlike anything they've ever done.
Also exceptional is "My Doorbell", a strutting piano soul number that contains the album's most immediately nagging melodic hook over Meg's effectively funky cavewoman stomp. Meg also contributes surprisingly subtle hand percussion to the quietly self-loathing folk of "Ugly As I Seem"-- a song that illustrates that the gulf separating Jack from freak-folk artists like Six Organs' Ben Chasny or Devendra Banhart may not be as wide as it seems-- and what sounds like tympani to the majestic "Take, Take, Take", an ambitious, Who-like piece that follows an obsessive fan as he asks one favor too many of Rita Hayworth.
Unfortunately, tracks like "The Nurse" crumble beneath closer scrutiny, due to their over-emphasis on clever interior rhyming "the maid that you've hired could never conspire to kill" and soft-focused melodies that never seem able to make their way to the exits. Other misfires include "Forever for Her Is Over for Me " and "I'm Lonely But I Ain't That Lonely Yet ", two great titles that undoubtedly deserve better treatment than they're given here, and the mercifully brief "Passive Manipulation" which again begs the gentle suggestion that Meg not be allowed to sing lead.
Even with a generous handful of tracks that easily rank alongside the White Stripes' best work, Get Behind Me Satan remains a confounding record, one that wears its "transitional album" tag like a heavy peppermint-striped crown. One can't help but feel that if perhaps the White Stripes had seen fit to take the necessary time to give cuts like "Forever for Her" or "The Denial Twist" a sincere revision or two, we might've been looking at a stone classic.
As it stands, there's more than enough here to give Stripes fans cause to celebrate, although it may not inspire much faith that the duo will ever find the patience necessary to deliver upon their promising new innovations.
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