King Khan’s first new full album in six years with the Shrines (though, they also put out an EP in between) is called Idle No More, and it could not be more perfect of a title. It’s self-referential not only for the band’s extended hiatus, but reflects the band’s own penchant for wearing its influences and sources on their sleeves as prophets of high-octane, few-frills rock n’ roll. While it’s difficult to eschew that absurd tendency to recall other bands in trying to define how a given song sounds like X (along the lines of something stupid like, “It’s the Rascals showing up, covered in sweat after a marathon of drugs and playing a set with Screamin’ Jay Hawkins down in Muscle Shoals!”), it becomes difficult when the Shrines are so obvious in where they cull their tunes. Any band that plays with less self-assured confidence would come off as hacky, self-important, self-appointed saviors of rock and roll. The difference is: King Khan and the Shrines just may be those saviors of rock and roll by their prowess first, their historical acumen second.
After the Jump: King Khan and the Shrines kick it old school, as they are wont to do