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on May 16, 2010
It hasn't been long since Jack White first announced the formation of his new side project, The Dead Weather. In 2009, after an extensive tour with The Raconteurs, Jack White brought the Kills' singer, Alison Mosshart on with "Little Jack" Lawrence on bass from the Raconteurs and Queens of the Stone Age guitarist Dean Fertita for an experimental project that would inevitably succeed thanks to Jack White's golden touch.

That summer, the band's debut album, Horehound, was released to typically stellar reviews. The Dead Weather remained hard at work for the rest of 2009 touring and even finding the time to record additional tracks. In March, the band released a new single, "Die by the Drop," giving fans the confirmation they needed that The Dead Weather would indeed be returning for another run.

A low, distorted rumble opens Sea of Cowards with White's trademark musical force. "Blue Blood Blues" is most closely reminiscent of "I Cut Like a Buffalo" from Horehound, but that is sure to do nothing but delight fans hoping The Dead Weather would continue with what works instead of try to make too many changes. Like The Raconteurs, The Dead Weather's sophomore release is even better than their already solid debut. Jack White has an impeccable ability to take a successful sound and manipulate it just enough to keep it fresh while not taking away from the aspects of the music that made it enjoyable and unique.

"Blue Blood Blues" is followed by "Hustle and Cuss," a track that lays down a great groove before Mosshart is given her first chance to shine on Sea of Cowards. There seems to be even more of a vocal timeshare on this album than their last.

On the vast majority of the song "Hustle and Cuss," White and Mosshart find the perfect blend of their sonically different voices which, when singing in unison, creates an original, simulated harmonization with a twisted, edgy sound.

Aside from The Dead Weather's standard instrumentation, the occasional addition of a haunting organ, especially on "Gasoline," fits perfectly within the mix. It also saves the album from becoming too singular in focus. The distorted, evil rock that makes up Sea of Cowards is concluded with another track that utilizes the keys, both piano and organ, "Old Mary." Although it does not have the same powerful, distorted guitar and bass parts that dominate the album, "Old Mary" perfectly sums up the mood of The Dead Weather's second release. With energy hiding within the dark prayer, I would not be surprised to see them use it as a closer before an encore in concert.

Sea of Cowards is an album for any fan of Jack White's previous projects. Where the White Stripes thrive on simplicity and the Raconteurs dominate blues-based rock, the Dead Weather contorts all standard perceptions of rock into their own distorted art form. Both of their albums are stellar, but if you are still not familiar with this band, Sea of Cowards is the perfect place to start.

Similar Artists: The Kills, The White Stripes

Track Suggestion: "Blue Blood Blues"
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on June 18, 2010
I'll do my best not to repeat what other reviewers have said.

Straight up, Sea of Cowards is chalked full of some good rockin jams. I can't say that the Lyrics are ground breaking in any way, but the attitude and style in which they are delivered demands your full attention and greatly adds to the overall vibe of the record.

I was kind of disappointed that the record is only 35 minutes, it was so good that i didn't want it to end.

Sea of Cowards is an album so full of character that it stands out like no other rock album i've heard in a long time. The band does an excellent job of pooling together all their talents in to a cohesive and refreshing use of their instruments. Its about the song, and not the musician, and every part that is played creates a full bodied jam full of chunky riffs and analog lushness. The groove they lay down on these tracks is undeniable. you can't help but check your lips and the door and shake them hips like battle ships...

The Guitar work on this album is very reminiscent of the greatest Leppelin and white stripes tracks with a more rhythmic approach. The Bass lines hold down a hearty power groove that's as mean and seductive as any thing claiming to be rock music. The heavy use of analog synth/organs on this album really sets it apart (in a good way) from any other rock album i've heard. It really is one of the highlights of this album's texture for sure. And the Drums... well, the drums are so well crafted that they rock steady and never step on any toes. I don't think i'm alone in saying that there are too many drummers out there that step on every beat of every song and kind of drown out any finesse that attempts to reach your ears. Jack does an excellent job of supporting the song and not his ego. Every instrument on this album is there and completely complements each other.

This album is a must have for anyone who remotely likes rock music. This album embodies what makes rock music so enjoyable.

You will not be disappointed.
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on May 11, 2010
The Dead Weather's new CD is just as you'd expect it to be; blistering Blues/Rock songs with squealing/screeching guitars, loads of distortion, and screeched/screamed vocals, all somehow coming together to make great music.

"Blue blood blues" is a perfect example (vaguely similar to "I cut like a buffalo"), it features Jack White on lead vocals. "All the white girls trip when I sing at Sunday service" he snarls. "Hustle and cuss" has groovy guitars as well as deep and dirty bass with Alison Mosshart on lead vocals and aggressive call and response with White in part.

More melodic and immediate is "The difference between us" (Mosshart on vocals), while "Die by the drop" is buzzing/blistering with both sparring vocally again. "I can't hear you" is one of the calmer moments, "Jawbreaker" is bouncy fuzzy and Poppy, while The experimental "Old Mary" starts off all Catholic with parts parodying "Hail Mary"; spare repetitious lyrics, organ, baby noises, vast musical expanses, and great guitar licks.

Much heavier and messier than their debut "Horehound" and just as good.
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on October 9, 2015
I bought it cause I am a huge Jack White fan and I'm glad to see that it's not only a different sound than what he normally does but as a band, They are very good. I love Alison Mosshart's vocals, She kills it on this album.
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on March 2, 2015
I love Jack White's work. If you're deciding between this album and Horehound, I'd recommend the latter. But if you love Horehound and want to expand your library, this album is a must. It's not Jack White's best material, but it's certainly worth buying.
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on July 15, 2014
This album from Alidon Mosshart and Jack White is beyond expectations! The lyrics see cutting edge, Mr White's guitar are rounchy and bluesy -- I just love their performances, it is so cool when people have chemistry! Brilliant
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This has been one of my favorite albums recently discovered. I was never a fan of the White Stripes, so I hesitated to pick up an album by a band that was formed as a 'new project' by Jack White. I have to say that I should not have had any reservations.

This is an amazing blend of musical styles, including elements of rock, electronic and blues. Alison Mosshart (who also does vocals for the Kills) is amazing. Her voice is so rich and throaty at times yet peaks to amazing highs. Even when she has a laugh in the chorus of 'I'm Mad' she gets that throaty awesome sound I can't help but love.

Needless to say I am a huge fan and I think that this album is their better album. That is merely my opinion, and I know others might disagree, and that's okay. If we all agreed then there would be nothing but one song in the world that everyone would listen to and nothing else!

Suffice to say, if you enjoy some pretty interesting and cutting edge music, then this might be worth your time. I consider it in the same vein (though at the fringe) of bands such as Metric, Yeah Yeah Yeahs, and the Sounds (and the Kills of course!).
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on July 3, 2010
The songs here are topnotch. Make no doubt about it. However, this CD is close to being unlistenable due to its horrible sound quality. The clipping is at times too much to bear and can lead to a headache. If you want to hear this album in a good way pick up the vinyl record. But again, as far as the songs go they are typical Jack White amazingness. Perhaps not as strong as Horehound (highly recommended), but good nevertheless.
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on June 1, 2013
Title mostly sums it up. Absolutely great album. Actually worthy of being pressed into vinyl. Also, apparently came with autorip which gave me access to songs in cloud player right after purchase. Can't really complain about that.
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on November 26, 2014
He plays drums on this project saying another project with him on guitar just seemed redundant. Learning this very recently after years of "spinning this record," kinda shed some light on the content of this album. I was a little surprised as the guitar on this album is all "Jack White". The reason I gave this such a high rating is due to the fact that I keep coming back to it. That is a sign for me that I really dig it.

It is, overall, garage rockin' in the same vein of all White's main or other side musical projects. In that sense, you won't be disappointed. It doesn't just turn into churning out more of the same, however. In fact, to my ears, this album is the ideal or "iconic" Jack White sound. The lyrical content is intriguing as well. The song transitions even offer a significant atmospheric element that adds to my over-all favoring of this singled out favorite from within Jack's, overall, very large body of work in what has so far been a consistent and very productive career.
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