Black Lips - Arabia Mountain

01. Family Tree
02. Modern Art
03. Spidey's Curse
04. Mad Dog
05. Mr. Driver
06. Bicentennial Man
07. Go Out And Get It
08. Raw Meat
09. Bone Marrow
10. The Lie
11. Time
12. Dumpster Dive
13. New DIrection
14. Noc-a-homa
15. Don't Mess My Baby
16. You Keep On Running

There comes a time in every rock'n'roll band's career when they have to decide whether to get out of the garage or stay mired in the grease. Black Lips seem to want it both ways. With the release of their fourth studio album, 2007's Good Bad Not Evil, the Atlanta rockers saw their audience expand well beyond the garage-punk underground, thanks to a new alliance with Vice that yielded fawning New York Times profiles, Conan O'Brien appearances, and Virgin Mobile ad placements. At the time, a Hives-sized crossover success didn't seem out of the question, but the Lips seemed to handily kibosh that possibility with 2009's 200 Million Thousand, a sprawling mess that seemed designed to prove Black Lips could still out-scuzz and out-slop the lowest of the lo-fi.

The band's decision to record Arabia Mountain with Amy Winehouse producer Mark Ronson is surprising, not because they're at odds aesthetically-- the two camps do share an affinity for 1960s retro recording techniques-- but because of the timing: hooking up with an A-list producer is the sort of move that would've made more sense two years ago, to capitalize on Good Bad Not Evil's mainstream-breaching momentum. But whether they're responding to Vice's vocal dissatisfaction with 200 Million Thousand or following the example of their late friend Jay Reatard-- whose 2009 swan song Watch Me Fall saw him cleaning up his buzzsaw-pop sound without compromising his essence-- Black Lips seem more eager to play ball this time around. And unlike previous cautionary examples of garage-rock bands teaming up with Top 40 hitmakers (the Hives and Pharrell, the Mooney Suzuki and the Matrix), Ronson thankfully doesn't try to make Black Lips into something they're not.

Though an early single had the loaded title "New Direction", Arabia Mountain sticks to the same Nuggets-style playbook that's governed all previous Black Lips releases. Ronson, who produced nine songs and mastered another two recorded with Deerhunter's Lockett Pundt, simply gives the band the most faithful faux-60s production money can buy. If anything's changed here, it's Black Lips' point of emphasis on the Nuggets spectrum: Arabia Mountain draws less from the sinister psychedelia of the 13th Floor Elevators or the deranged blues of early Beefheart, and more from the toga-party-rockin' likes of the Sonics and the Premiers. So it favors the more amiable aspects of 60s garage-- frathouse-rocking saxophones, songs inspired by comic-book superheroes and baseball mascots, and grooooovy singing saw-- over anti-authoritarian attitudes and fuzzbox abuse.

Black Lips have never been shy about showing off their playful side, but in the past, these moments (Let It Bloom's poignant, poor-boy ballad "Dirty Hands", Good Bad Not Evil's outsider anthem "Bad Kids", 200 Million Thousand's sober-up pledge "Starting Over") nicely complemented their more raucous rave-ups, revealing a sincere softer side to the band's notorious delinquent image. With Arabia Mountain exuding a mostly cheeky and cheerful demeanor, you do lose some of the oppositional tension between innocence and insolence that always distinguished Black Lips from the garage-punk pack. And with a somewhat bloated 16-song tracklist, the album's abundance of open-roof Thunderbird anthems-- "Go Out and Get It", "Time", "New Direction"-- starts to feel somewhat interchangeable.

But Arabia Mountain's chiseled production and considerably tighter songcraft provides a better forum for showcasing the band's subversive sense of humor. The best songs here play up the dichotomy between their retro sound and modern preoccupations: bad acid trips at the Louvre (the Yardbirds-ish freakbeater "Modern Art"), exotic fad diets (the breezy Beach Boys-via-Ramones romp "Raw Meat"), and post-recession survival tactics (the spot-on country-Stones send-up "Dumpster Diving"). And in anticipation of those old-school fans who might view Arabia Mountain as a calculated act of careerism, the Lips throw a late-game curveball with the queasy closer "You Keep on Running", a creepy haunted-house trawl that finds Cole Alexander issuing the title's warning in a high-pitched squeal that's equally unnerving and silly. Its inclusion sends a none-too-subtle message to anyone who thinks they've got Black Lips all figured out: Arabia Mountain may be poised to push this band further over-ground, but they're not going up without a fight...www.pitchfork.com