The Strokes return, but should have stayed away
Everyone loves a comeback story.
The hero fights through trials and tribulations, but everything
works out in the end. Comeback stories give hope to those who fail
and need a turnaround.
But sadly, a failed comeback can do more damage than a person
would hope.
The Strokes return, but should have stayed away
Everyone loves a comeback story.
The hero fights through trials and tribulations, but everything works out in the end. Comeback stories give hope to those who fail and need a turnaround.
But sadly, a failed comeback can do more damage than a person would hope.
For the former “savior of rock” let’s hope that’s not true.
With their fourth full-length album – and first in 5 years – The Strokes hiatus is over, and it’s over with a sporadic and messy dud of an album.
It was only 10 short years ago when the New York five piece was considered the “Next Big Thing.”
Their debut album, 2001’s “Is This It” was a decade-defining rock album that kick started the genre’s revival in the new century. It was undeniably loud and brash. It was short on time, but big on guitar hooks, choruses and rock swagger.
Lead singer, and writer of all things, Julian Casablancas was just cool. Wearing a leather jacket and big sunglasses, he exuded the idea of a rock star.
When the band played live, Casablancas stood at the center, with a cigarette in his hand and seemingly paid no interest to the audience – and people fell for the band.
Along with Detroit’s The White Stripes, The Strokes were the saviors of rock and hope for a new generation of music. The Strokes were the modern ages’ The Velvet Underground or Television.
Riding the wave of hype, the band quickly released the follow-up “Room On Fire” in 2003 with similar acclaim.
Driven by Casablancas’ careless vocals and guitarists Alber Hammond, Jr. and Nick Valensi’s cascading guitars, the band’s sound was easily recognizable.
But then came the band’s first misstep – 2006’s “First Impressions of Earth.” The album was billed as an expansion of The Strokes core sound, and it came off bloated and simply not interesting.
After those recording sessions and tour, the band took hiatus to explore other opportunities. Some of the band members released solo albums. Others joined new bands. But in 2009, the band rejoined to record their new record – “Angles.”
Truly, the name of the album is a perfect representation of its sound. It appears to have come from five different people that were rarely in sync during the two-year recording process.
Stories from the sessions included Casablancas distancing himself from the band and recording his vocals without the band nearby. And for the first time, someone else beside Casablancas wrote the majority of the album’s songs.
The distance is easily recognizable from the album’s opening moments, and throughout its 34 minutes.
Sure there are some special moments – especially the wonderful “Gratisfaction” and lead single “Under Cover of Darkness” – but the album is filled with half-written songs with boring vocals or songs that try too hard to relive the synth-filled ’80s.
But then again, when it’s good – it’s good.
Opener “Machu Picchu” begins harmlessly with a sharp guitar and rhythm, but Casablancas appears to want to be elsewhere. He seems disinterested and almost annoyed. The lazy vocals waste a good guitar rift and rhythm – and it holds back the song from really taking off.
During the chorus, Casablancas almost sounds like he is reading from a script and it’s too bad.
Following through is the powerful and intense “Under Cover of Darkness.”
Highlighted by a great rolling guitar rift and a bouncy bassline, the song has life.
Casablancas gives the sound energy during the swelling chorus.
“I’ll wait for you/ Will you wait for me too? /And they sacrifice their lives/ In our land are all closed eyes / I’ve been saying we’re beaten down, I won’t say it again/ So long, my end/ The sorry embrace,” he sings.
It’s the song that reminds the listener what the band used to be.
But sadly that feeling doesn’t come back until the album is almost over.
The synth-happy “Two Kinds of Happiness” and the terrible, muddled mess “You’re So Right” follow the single.
“Happiness” has its moments – the pulsating guitar – but the opening synth and the stressed vocals ruin the full product.
But “You’re So Right” is another story.
Casablancas is buried behind a two-step drumbeat and a hazy guitar. The singer mumbles his way through two-and-a-half minutes that appear to last at least two times as long.
It’s a strange song that has no counter point or reason. It doesn’t fit with the band’s catalog or album.
It’s not until track eight, “Gratisfaction” where The Strokes finally show up to their own party. It’s a quick punch of a song, blasting through its welcomed appearance. It comes and goes in an unforgettable breeze.
“But you’re never gonna get my love/ We can only blame the sun/Get up in the morning and run/ You’ll be frustrated ’til the day that you’re done,” Casablancas sings.
It’s the only moment on the album where the band actually seems to enjoy each other.
The band is in synch with a thunderous guitar and high-temp pace. And Casablancas returns to the man that was idolized 10 years earlier.
Too bad it’s a rare moment that comes too late.
