Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence—of the Kills, the White Stripes, Queens of the Stone Age, and the Raconteurs, respectively—have something in common beyond a love of vintage rock and pluralized band names: They all approach music with equal measures of recklessness and craft. Their sophomore album (following up last year’s Horehound) cranks the mojo up to 11, splitting time between inferno-grade blues-rock and grooves so swampy they practically emit wavy stink lines. Guitars go terse, then molten, while Fertita bends space with his tough, spacey organ vamps; White sings lead vocals on “Blue Blood Blues,” a Zeppelin stomper decorated with tart vocal “oohs,” but Mosshart is the main draw, shape-shifting through punk tantrums, choked blues, and stage-caliber bits of dramatic sing-speak. Every track offers a new vibe—slow-burning funk on “I Can’t Hear You,” chicken-fried psychedelia on “I’m Mad”—but the taut, razored arrangements never relent in delivering high-impact drama.