Album Review: The Strokes - Comedown Machine

The Strokes
Comedown Machine
Rating: Meh

Really, there are sometimes where you make such a definitive statement there is nowhere to go but down. In 2001, The Strokes' debut album Is This Is? was a defining moment for the band as well as the beginning of a new era in the post-9/11 world, moving the music world back into the guitar/bass/drums world. While their sound was not exactly groundbreaking in any way, it was their attitude and swagger that sold it, sounding dangerous and popular at the same time. Since that time, however, The Strokes' have not exactly lived up to the enormously high bar set by their debut. Their second album, Room On Fire, didn't change their sound up much, mainly opting for a cleaner sound. Third album First Impressions of Earth was almost an unmitigated disaster, earning the band their worst reviews and worst selling album of their career. The band basically fell apart afterwards, with Julian Casablancas releasing a solo album and the other band members going off on their own projects. Remarkably, the band returned in 2011 with Angles, however, the band itself has even said it was done for the money, and despite it being a very solid record, received some very mixed reviews. Somehow the band is back with their fifth (and contract fulfilling) record Comedown Machine, which finds them at a very strange crossroads. Will this be the answer to the question posed by their debut, or is it the jumping off point for something fresh and new? The answer is a bit muddled. Comedown Machine is by far the most eclectic Strokes record yet, jumping around over different styles, never really settling into one groove for long. It does sound like the band is all there though, unlike Angles where it sounded like the band were in different countries, emailing their parts to one another.

Oddly, the most Strokes-esque tracks are the least interesting songs on here. "Slow Animals" has the same Is This It? template down, but sounds lifeless and rote, while "All The Time" almost feels like a Strokes cover band.



It is where the band really does something different where they make good on the promise of their start. I love the hypnotic swirl of keyboards and guitar on the drone-heavy "50/50;"



"Partners In Crime" has to be the loveliest track they have ever done, Casablancas' voice tightly coiled with emotion, finally letting go in the closing moments that never fails to move me;



the half-silly, carnival ride of "One Way Trigger" is simply too infectious to ignore;



while "Welcome To Japan" slinks along on a disco vibe.



But overall, the record just feels a little stilted and lacks direction, and quite frankly seems lazy at times. Opening track "Tap Out" barely jumps out of its smooth groove, sounding like Casablancas is singing from a bathtub, "Happy Endings" is slick and propulsive but lacks heart, and closing track "Call It Fate Call It Karma" is a drowsy, faux-jazz/blues number that is rather ruined by Casablancas' forced falsetto.



While Comedown Machine is a more band-centric record than their last, it does end their contract on a very muddled note. There is nothing explosive or game-changing here, showing that the band at least is trying to go out on a high note, nor is there anything terribly embarrassing that might indicate the band doesn't care anymore. Instead, it is profoundly unexciting, which is shocking considering how dangerous they sounded on their debut. As such, we are left to ponder the fate of the band going forward. If Comedown Machine is their final record the band fades out with merely a whimper. If this is just a stop-gap before heading off into different territory, then it is just a mere bookmark in their career. Time will tell.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.