By Zachary Burton
The ever-changing beast that is The Strokes has morphed again with its latest and fifth album “Comedown Machine,” released March 26.
“Machine” sports a new coat of electronica paint that is clear from the minute sound plays. The first track “Tap Out” begins with a squealing guitar seamlessly leading to a groovy synthesized beat. By the time vocalist Julian Casablancas decides to chime in, a groove worthy of head nods have been laid out, and the mood for the album is set. Every track, whether as heavily electronic as the first, all inspire some sort of appreciative movement, groove intensive as they are.
In “Angles,” the album preceding “Machine,” Casablancas intentionally recorded his parts alone. That was not the case with this record. Casablancas’ influence on the record is apparent through the extensive synthesizer work like that of his solo project. “All the Time” is the strongest throwback to previous Strokes’ albums, lacking the electronic sound the rest of the album caters to.
The band pushes to new bounds with this work in the sense that they grow to adopt a different sound, but at times these bounds border pop. “One Way Trigger” begins instantly with an infectious combination of keys and guitar that culminate in falsetto lines belted by Casablancas. This was the first song I found myself repeating at leisure.
https://soundcloud.com/thestrokes/the-strokes-one-way-trigger
It was this very infectious nature that had me delve deeper into The Strokes’ discography, leading me to believe this album’s strongest trait is accessibility. Repetitive at times, the electronica tones can seem to blend into one long song if the album is left to play, but the closing track, “Call It Fate, Call It Karma,” catches the unobservant listener off-guard with its archaic sound. The vocals sound like they resonate from a phonograph, and the guitar line sounds as if it belongs on some tropical beach.
Overwhelmingly, the taste of pop this album leaves and the new wave ideas were a good call.
8/10
How old are you? “It was this very infectious nature that had me delve deeper into The Strokes’ discography” Please tell me that you’re 18 or something. How can you be writing music reviews but didn’t happen to stumble upon listening to Is This It or Room On Fire in your lifetime? The only excuse I can even imagine is that you were 8 years old, didn’t know better and had a hand me down boom box with a CD changer consisting of music your sisters discarded or music your aunt thought was hip. Your poor, poor self must have been limited to nothing but a few CDs from Train, Matchbox Twenty, Clay Aiken, Shania Twain, and 3 Doors Down.
This album is trash. I love the Strokes but they’re a lazy band and this is a record made out of desperation to try to remain relevant and stay somewhat in the public eye. It’s over produced
http://www.youtube.com/watch?v=6gwbXjHNcwA Listen to that and then go back and tell me if you can play “One Way Trigger” at leisure.
Pffft.