Detroit might be the original “Rock City,” but that title may be shifting to our neighbors to the North — and no, I’m not talking about a new Paul Anka record. Following the history of other prominent Minneapolitan rockers, Tapes n’ Tapes’ latest release, Walk It Off, incorporates the intensity of H�sker D�, the vitality of The Replacements and the funky swagger of Prince.

For the follow-up to their critically acclaimed debut, The Loon, the Tapes wanted to go in a new direction. In an interview with Pitchfork Media, lead vocalist/guitarist Josh Grier said, “I want [Walk It Off] to sound like it’s going to sound when we play it live.” To achieve this, the Tapes wisely employed Flaming Lips producer David Fridmann. Much like his work with the Lips, Fridmann used his distinctive style to give the album texture and a spacious feel. If you listen to the hi-hat and toms in the intro of “George Michael,” it sounds like it comes live from the Pantages Theater. However, Fridmann’s genius behind the boards is not just evident in the feel of the record.

Fridmann’s production perfectly complements the Tapes’ style by knowing exactly where to place the bells and whistles without losing the raw rock feel. Matt Kretzman’s synth arpeggios are modestly synchronized throughout “Conquests” to accentuate Grier’s high croon while never shifting the spotlight. Although his production may be spot on, Fridmann’s work merely enhances a collection of already brilliant songs.

It may be the bewildering charm of Grier’s ranting voice or the startling distortion infiltrating a comfortable groove, but whatever “it” is, Walk It Off has got it. From the first track, “Le Ruse,” the Tapes prove they set out to make a rock album, and they obviously succeeded. Within five seconds, listeners are bombarded by a wall of sound; distorted guitars, boisterous cymbals and Grier’s familiar drone fill the track to the brim until an inevitable climax signals the end. But the Tapes are certainly more resourceful than using sheer volume to prove a point.

The album draws heavily on chic rhythmic changes that vary from song to song. One instant the band is loafing around a lax backbeat (“Time of Songs”), and the next they are deeply syncopated in an off-time tirade (“The Dirty Dirty”). Walk It Off’s first single, “Hang Them All” is no exception. The track begins with a John Frusciante-esque guitar riff and spatial bass melody accompanied by Grier’s voice apprehensively spurting ominous phrases. And just when it seems the crescendo can go no more, the Tapes release an upbeat hook foreshadowed for the last 40 seconds. The ambiguous lyrics, rhythm changes and soulful organ chords on the choruses easily make “Hang Them All” the best choice for a single, if not the best song on the album.����

Walk It Off does a superb job showcasing Tapes n’ Tapes’ unique brand of dirty-rhythmic rock. With a consistent feel throughout and poignant but raw instrumentation, the album is a great example of what a rock record should be: simple with no overindulgences.�