With no singles released prior to the album, Jack set the listener up for an unbiased listen – which is quite refreshing. In the age of releasing four singles four months before the drop, it’s exciting to have no prior expectations for a change.

Putting the raw in raucous, this is the album Jack’s fans have been screaming for. “Old Scratch Blues” and “Bless Yourself” begin the collection like a grand homecoming for long time followers. Echoes of Blunderbuss signify the return of the garage rock king. This is Jack White in his element.

“Underground” will especially scratch the itch for White Stripes diehards who have been dreaming of their reunion. With the primal beat backing a playfully strummed slide guitar, it certainly feels like a time capsule of his origins. By no means is this a stale rehashing or cash-grab, but rather a natural progression for the “Icky Thump” author. “It’s Rough as Rats (If You’re Asking)” could’ve also been penned by the duo – if similar only in instrumentation. It’s beautiful to get a glimpse into an alternate reality where The White Stripes put out just a few more songs.

From a James Bond theme to supergroups to producing records and pressing vinyl; Jack White has been busy and unavoidable in the music industry. So much has happened since he first dominated the world, yet Jack’s return to a minimalistic approach feels as brilliant as it did at the top of the 21st century. In fact, it’s hard to comprehend that any time has passed at all while listening to No Name. Jack’s prior two albums had him jumping between acoustic ballads and experimenting with hip hop beats. Both Fear of the Dawn and Entering Heaven Alive were fantastic albums, yet something about returning to his roots feels so right in the moment.

One of my favorite aspects about Jack’s music is how he can make a lyric really pop out at you.

As much as I loved that line, nothing felt more exciting than the quickly rattled pitch of traveling miracle man, “Archbishop Harold Holmes.” White sings, “If you've been crossed up by hoodoo, voodoo, the wizard, or the lizard” and it’s entertaining, it’s clever, it feels like an ambiguous period piece, and, most importantly, it stirs your imagination.

According to an Instagram comment by bassist Dominic Davis, the record featured drumming by alumni of three of Jack White’s previous projects: Karla Azar, Patrick Keeler, and Daru Jones. He also mentioned there being four bassists on the album, but didn’t bother to name them. Rude. The legendary Quincy McCrary appears to have loaned his talents on the keys as well.

The mixing and reuniting of Jack’s old friends further the feeling of it being a true homecoming – if not a musician’s fantasy league made manifest.

This surprise album is one for the ages. Few artists have been able to consistently make their steps as shrouded in mystery as Jack White, and we’re fortunate enough to hear the rolled blueprints of his schemes unravel. His energy is matched only by his genuine passion for what he does. When Jack screams, “That’s how I’m feeling right now,” EVERYONE feels it back.

This record may not have a name, but it is bursting with personality and electricity.