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.

The Strokes: Angles

The Strokes
Angles
Rating: Grrrr

Sometimes great things result from bad circumstances; tensions creating the push and pull to draw out genius. Other times you end up with a mixed bag, or even something painful. It is no secret that The Strokes almost imploded from all the pressure on them to be the best, the coolest rock band in the world. What seemed so effortless on their debut Is This It? had become rote and stilted on 2005's First Impressions of Earth, although, to be honest, I feel that album is severely underrated. The band, fractured and adrift, took an extended break, working on solo projects or just living out of the spotlight. Even when the band members decided to return to the fold, there were still long-seated resentments and animosities, to the point where front man Julian Casablancas wasn't even present for the recording of the music tracks; sending his vocals to the band via electronic files. Based on this back story, I was expecting to find an album just as fractured; however, in this case, it appears to have been a good thing, as the tensions, which are still quite evident, work in the band's favor. The group sounds energized and full of ideas.

Most of the criticism of The Strokes has been towards how they strayed from the sound that made them famous in the first place. The move away from a Velvet Underground/hipster/slacker sound to an edgier 80's new wave sound was somehow heretical. Angles appears to balance the needs of the band to expand their sound with the wants of those original fans. There are several songs here that could easily fit within the confines of Is This It? Lead single "Under Cover Of Darkness" swings for the back fence with trademark angular, squealing guitars and a typically wry Casablanca vocal:



"You're So Right," buzzes with menacing guitar lines that snake in and out of one another:



"Taken For A Fool" finds Casablanca's vocals hiccuping and choking over a tight back beat and melody:



Occasionally, the homages to the old sound backfire, making them almost sound like a Strokes cover band. "Gratisfaction," is pure paint by numbers Strokes and could have been cut or freshened up.



While I love the Strokes of old, I do admit I have a fondness for their more 80s new wave leaning side. Based on the tracks falling under that category, it appears the band has been listening to a lot of Cars, Men At Work, and The Police. Whether through adding reggae textures in "Machu Picchu,"



drum machines and tightly wound guitars in "Two Kinds Of Happiness,"



a rush of analog synths and beats to "Games,"



The Strokes play with their sound and move it forward. While I am sure there are a lot of fans who would be happy with them repeating themselves over and over, I respect the fact the band is as restless as they are. I would much rather have a band try something new and fail, then stick to the tried and true. Angles does have its fair share of issues. Some of the experiments sound like demos still. "Call Me Back," a delicate ballad featuring Casablanca's laconic vocal over gentle guitars and keyboards, starts interesting, then loses focus as the vocal reaches histrionic levels:



And final track "Life Is Simple In The Moonlight," has some lovely flanged guitar, but switches gears too many times within the song, becoming an almost generic 80s ripoff:



There are also moments when the performances seem phoned in, especially with some disconnection between vocals and backing tracks. The band has been very forthcoming about the problems inherent in the making of the album, and have alluded to the fact the band is not always on the best terms. Even their performance recently on SNL showed a band that, while still one of the tightest in the business, didn't really look comfortable with each other. Whether this was due to start of the tour kinks, or a more pressing problem of inner-band unity, remains to be seen. I am heading to Coachella in a couple of weeks and will be able to see them live. Hopefully, everything will be in full swing. The Strokes are too good to break up this early. Based on this wonderful record, evidence shows they have a lot left to give.

Rating Guide

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 albums of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks 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.