Artist:The Strokes
Album:Comedown Machine
Label:RCA
Release Date: March 26
Grade:A-
The Strokes have been in the game for a while now, first breaking into the spotlight with their 2001 debut album, Is This It. It's been 10 years since songs like "Someday" and "Last Nite" jumped on the radio waves and Fuse and MTV2's after-school specials, tangling listeners in the band's garage-punk style in a time when it seemed the rock-music scene consisted exclusively of either The Red Hot Chili Peppers or The White Stripes.
However, this isn't 2002. The Strokes and their fans are ready and have made it apparent - it's time for something new.
Comedown Machine, The Stroke's fifth studio album,brings just that to the table. While fresh and slightly experimental, the album keeps close to home with singer Julian Casablancas and guitarist Albert Hammond, Jr., staying true to the artists' sound.
There are a couple elements that can be expected in any Strokes album, and Comedown Machine is no exception. Tight drum beats and thumping toms, driving, fuzzy bass lines, clean off-beat electric guitars, solid vocals and tube amplifiers stand out in songs like "All the Time" and "Welcome to Japan." These danceable, fast-paced, garage-punk tunes are easily two of the album's best songs.
Listeners will be able to tell the band is trying to branch out with songs like "Tap Out," the opening track on the album. The song drops a driving bass riff, harmonizing with a palm-muted guitar slightly on the side. As the chorus rolls around, Casablancas' falsetto is showcased through his infectiously catchy vocals. The song closes out with a lightly distorted and well-played guitar solo from Hammond.
"One Way Trigger," track three, is quite weird. It sounds like the soundtrack to a beach volleyball scene in Miami Vice, or the theme song to a tropical-themed old school video game. The song is far from unenjoyable, though, and with the experimentation present in the rest of the album, it fits in like an extra piece of bacon on your cheeseburger; you might not need it, but it still tastes good.
"80's Comedown Machine" features a super modern indie-electro drumbeat and a digital synth-y melodic guitar riff. While totally off the beaten track for The Strokes, the song is extremely enjoyable, with vocal harmonies layered upon reverb arpeggios in a very relaxing final effect.
Even with all the experimentation evident in some of the tracks, this is a Strokes album after all, and "50/50" scratches that itch for kick-ass guitar riffs and Casablancas on the mic. The song is short, loud, rocking and sounds like it belongs on the Nintendo 64's Tony Hawk's Pro Skater 2 soundtrack.
"Partners In Crime" is another song that satisfies, with a strikingly similar drumbeat to 2002's "Someday." The chorus is catchy and incorporates some cool backing guitar and treble vocal layering effects, while Hammond shows off his chops and kills it on a solo, closing out the song.
The Strokes hit the nail on the head with this album, showing they aren't through with making awesome music. If anyone was worried about the album's release, rest assured their lo-fi, '60s-Kinks-inspired sound hasn't gone anywhere. Casablancas is still rocking and writing incredible songs up and down the album, while Hammond can still shred like no one's business.
Comedown Machine is a must buy if you've ever liked anything from The Strokes. The album satisfies the need for innovation and something new, while sticking to what the band is good at.
Unfortunately, according to NME.com and the band's website, The Strokes aren't planning a tour for the newly released album. The Strokes haven't scheduled dates yet, which is a real bummer for fans, as the band is known to put on one hell of a live show. For now, fans should be happy to settle for new tunes with a brilliant collection of songs on Comedown Machine.
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