To some extent, you know what youÔÇÖre going to get with a Jack White record. ‘Lazaretto’, White’s second studio album, is no exception with most of the old trademarks present.┬áRaucous riffing and squealing solos? Check. Weird, jarring lyrics? Check. And, rising above it all, you get WhiteÔÇÖs signature hair raising yelp. Although, thereÔÇÖs also a marked emphasis on the mellower side of his sound, with White leading a healthy number of tracks on acoustic guitar.

White takes advantage of having not one but TWO backing bands. The all male Buzzards and the female Peacocks add texture to his blues-rock with flourishes of fiddle, pedal steel and vocal harmonies providing a nice change of pace on third track ÔÇÿTemporary GroundÔÇÖ.

Sitting in the middle of the album ÔÇÿHigh Ball StepperÔÇÖ is one of the most engrossing instrumentals heard on a rock album with the pitch-shifted guitars taking the place of WhiteÔÇÖs howling voice. ItÔÇÖs a great piece of music not to mention a ballsy choice for the lead promo track for the album.┬áÔÇÿJust One DrinkÔÇÖ seems a cute sister song to ÔÇÿItÔÇÖs True That We Love One AnotherÔÇÖ of White Stripes fame, complete with fiddle, honky-tonk piano and bright harmony from Ruby Amanfu.

ItÔÇÖs definitely worth mentioning the fine cover and liner artwork that accompany the CD version, featuring spooky blue-tinged photographs of White and assorted members of the Buzzards and Peacocks as well as a fantastic ÔÇÿscreenplayÔÇÖ titled ‘The Admitting of Patience,’ a deep and unexpectedly emotive intro to the lyrics book.

While ÔÇÿLazarettoÔÇÖ is not a groundbreaking departure, it showcases WhiteÔÇÖs blossoming collaboration with his backing musicians, and more interestingly, an insight into a very traditional musician navigating his way through the digital age.