Upcoming...The Strokes: Comedown Machine

    In just two days, The Strokes will release their upcoming album, Comedown Machine, this their fifth studio record. One of the most well-known indie rock bands of the 21st century American culture, The Strokes have had their ups and downs, with critics and fans alike loving their debut album, Is This It (2001), while their follow efforts (i.e. Room on Fire, 2003, and First Impressions of Earth, 2006) left listeners desiring more. Either in the way of more diversity in their sound, as Room on Fire was so criticized, or just by receiving lackluster reviews as did First Impressions of Earth. 
    Thankfully, The Strokes rekindled a lot with the release of Angles in 2011 after a two year hiatus. The main force behind The Strokes is writer/singer Julian Casablancas, and during the studio recording of Angles he purposefully isolated himself from the rest of the band, in order to force them to be more involved in the creative process. Apparently he was dominating the process not because he was a control freak, but rather no one else was putting in their own two cents. The whole length of time between albums was subsequently difficult as one member was dealing with drug problems and another stated that he would never record an album again if everyone was going to be in separate places and not working together. So, Comedown Machine saw Julian return to the recording studio, Electric Lady Studios, in Greenich Village, NY, NY.
    For my part, I am not crazy about The Strokes songs prior to Angles, which was the album that first drew them into my sphere of awareness. I like some of their older songs, but generally I find a lot of their early material dull and lifeless. I'm sure that extremely laid back sound was what they were going for, and they did it remarkably well, but too well. They lack spark, except for songs like "Reptilia" and "Red Light", to name but a couple. Going back that's probably not as true as when I originally listened, but the thought has kept me from intentionally doing so. That and Angles had so much energy, even in the more minimalist arrangements--plus every song had the catchiest hooks or choruses. Their creativity in the sense of making something energetic out of what might be low key really is what makes The Strokes work so well.
    Comedown Machine is somewhat of an extension of Angles, as it includes some left over material. This probably means songs like "Tap Out" or "One Way Trigger" (a single, and one of my favorite tracks with its baroque pop harpsichord reminiscent synths), while the other tracks are diverse and unique to The Strokes. They tend to be more on the new wave side, without crossing the line into disastrous, and show off some new ideas. One song, "80's Comedown Machine" has a really interesting arpeggiated or even Alberti-base style harmony in the synth organ. The previous track, "Welcome to Japan" reminds me of Phoenix a lot, with the funk inspired French pop sound. "50 50" is somewhat of a punk inspired upbeat beach tune with distorted vocals as if sung over a megaphone. "Partners in Crime", two songs later, is similar, but has interesting contrasting major/minor harmonic sections. The next song, "Chances" is quite synth pop inspired, with slight undertones of electro house music as well (reminds me a bit of Daft Punk or Röyksopp in the busy harmonic structure's sound). I do love the timbres The Strokes uses for its guitars, like in the second to last song, "Happy Ending". The album ends somewhat strangely, with a throw back retro kind of old radio sounding piece, "Call It Fate, Call It Karma". All this just a nibble.
    Listen to the entire album by going to The Strokes website, here. The link will take you to Pitchfork Advanced, I guess its a new digital media website Pitchfork is using now. Or just continue taking small bites and listen to "One Way Trigger" over under the 'Monthly Sample Tracks'. Enjoy!