With minimal press and virtually no involvement from the
band to promote their new music, The Strokes return with their fifth album, Comedown
Machine, available today. Even the album artwork is sparse, with
only a retro-looking RCA Demo cover for packaging, but regardless, the lack of
artwork is fitting as the ten songs channel several New Wave and synthpop
influences from the eighties.
In many ways, the Comedown Machine bookmarks
the end of an era for the Strokes, as this album fulfills their contractual
agreement with RCA Records and in many ways, it is. Purists hoping for a
‘return to form’ since Room On Fire will barely recognize the
music on Comedown Machine as The Strokes. Julian
Casablancas utilizes his upper register on this album more than on any previous
release combined.
“Tap Out” recalls the same qualities that made “Machu
Picchu” one of the most memorable tracks on their last release, Angles.
“Chances” sounds like a song that the Cars forgot to record and “Welcome
to Japan” is a perfect melding of The Strokes and Talking Heads. The one
true ‘Strokes-sounding tune’ is the excellent first single from Comedown
Machine, “All the Time.”
Other highlights on Comedown Machine include
“Slow Animals,” “Happy Ending,” and the eighties throwback “One Way
Trigger.” One of the strangest album closers and most bizarre track in
The Strokes catalogue is “Call It Fate, Call It Karma.”
All in all, The Strokes sound like they are at least
enjoying being The Strokes on Comedown Machine, compared to the
auto-pilot mode they were in on Angles and the results are quite
enjoyable.
The Showbiz Kids Rating:
8 out of a possible 10, “Pretty Good”
-Will Fisher, The Showbiz Kids
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