The Quietest Jack White Album — Entering Heaven Alive
Yet He sounds far from Lazy and Lethargic
In my last story, I commended Jack White’s Fear of the Dawn for its enormous energy, but also its lack of acoustic blues ballads.
Now on the polar opposite of Fear of the Dawn’s rock ruckus, is another record; the folkier Entering Heaven Alive.
Besides his B-sides compilation album, Jack White Acoustic Recordings 1998–2016, this is his first completely-stripped down studio album.
And it’s nice to hear, even if it’s more minimized and gentle, what makes his music captivating wasn’t lost.
We had a first taste of this record as B-sides singles: Taking Me Back had its gentler version, Hi-De-Ho had Queen of the Bees, and Love is Selfish had the title track Fear of the Dawn.
In turn, it certainly feels either like the song’s alternative approach or its palate cleanser. It unintentionally felt like its arch nemesis, even.
Jack’s second effort this year relishes the opportunity of fleshing out his rugged acoustic aspects into the finer things.
I like the idea of a completely mellowed out album, especially one after the one that sounded so hyper and energetic.
And in hindsight, Jack is taking a left turn artistically as well. He famously had a strict three-color scheme for the White Stripes of Red, White, and Black.
His solo work has the Blue, White, Black color scheme, with most of his album covers and live performances following suit.
But, for Entering Heaven Alive, we’re given a completely grayscale image, one that’s not even him.
Many of the album’s songs, becomes quite compelling on its own, saving it from sounding dull and tantalizing.
Because even if its more laidback, Jack still uses the runtime to display his versatility the most fitting way he can.
He really makes fingerpicking sound simple through his melodies by wrapping it in a more lullaby quality to it.
As a result, many songs comforting in a way that none of his previous materials seems to solely focus on.
Meanwhile, everything else that doesn’t conform to the lullaby quality feels more like unplugged Jack White rockers
The few that felt like bigger details were dropped in the cutting room floor But, it doesn’t really feel like a bad thing.
It’s not like we’re starved of a better sound, because it stands with its own charm, in its own great little way.
Its gentler tone certainly helps us focus on Jack White’s lyricism, which, no surprise, feels a lot more tender and personal in here.
Despite its somber restraints, Jack shows quite the range in sounding stripped down, and I applaud him for that.
Opener A Tip From You to Me already sounds like a classic, with the pristine piano, the detailed basslines along with Jack’s own sweet vocal harmonies.
All Along The Way is our first taste of just Jack and his guitar, which is always a duo that can do no wrong.
Overtime, with more elements thrown in, it certainly feels more like an unplugged Jack White rocker where all the multitracks are pushed down.
Help Me Along feels more pristine with its strings, and with the organs syncing with Jack’s vocals make it feel a lot sweeter.
The lead single Love is Selfish is a pretty mellow glimpse of the album, given that its the lead single, also considering that this song is just Jack and his guitar as well.
I’ve Got You Surrounded (With My Love) is a very stripped down Jack White rocker, the echoing floor tom and the short guitar melodies make it feel ominous
Queen of the Bees tends to sound more playful with its moving guitars and frisky percussion.
A Tree on Fire from Within is a short piano-driven track with a sweet little hook supplemented by its bass.
A Madman From Manhattan has this weird coffee shop vibe going for it, which isn’t helped by its reverb and its minimalist breakbeat-like percussion.
The strings of Taking Me Back (Gently) that also appear on Help Me Along bring depth in this stripped down version as well.
Overall, I really like how it gives breathing space to appreciate more of Jack White’s slower tracks. I guess it helps with a “You know What You’re Getting” mindset with this record.
I quite like the creative breakdown of this closer, and it ending with a teaser from the actual version of Taking Me Back. I like how it brings a sense of continuity, and it leaves me wanting more as a result.
This is an extended version of my album review on my Instagram: The Left Ear with Lee. Be sure to follow me on Medium and on Instagram. Thanks!
