The trouble with releasing a universally lauded debut album is that you’ll forever be measured not only by its greatness but also by its particular qualities. In this way, how “good” either the forerunner or successive albums happen to be ceases to matter, and it is only the elusive “sound” initially tapped that remains important. Such is the case of The Strokes, whose debut Is This It? wowed a generation of music fans. From there the group delivered the outstanding Room On Fire, but critics lost interest with the most recent two albums First Impressions of Earth and Angles.
The band’s new album Comedown Machine can’t quite be hailed triumphantly as a return to form, but it does feel that the Strokes have hit a stride that was missing on the past two efforts. After enormous expectation and tension, the group seems to have finally decided to relax and fall into the groove of the innate talents its members clearly possess. Thus, I can’t think of a better name for the album than Comedown Machine, and within that comedown is high point for The Strokes.
Because the group appears more at ease, many songs resonate with a chic coolness that waned in recent years. However, the explosiveness and shimmering grittiness that defined the Strokes’ early albums has not returned. Early on, as tracks began to emerge, many noted how the band sounded strikingly similar to Phoenix. I think I first read this comment on Stereogum, and admittedly haven’t been able to shake the thought. Though it should be said that if the Strokes mellowed their sound a bit and infused some dance-centered pop, they’d sound like… well… they sound a bit like Phoenix. Opener “Tap Out” exemplifies this sound perfectly.
“All the Time,” the album’s first single, follows, sounding more like Room On Fire-era Strokes to great effect. The song’s chorus recalls the early rock-centered songs from Spoon, which isn’t a bad thing. Making it a single indicates that the band also felt the song showcased the album’s assets, but it’s one of the few moments during which they pin down what they’re aiming for. “One Way Trigger” is fun, borrowing sounds from 80s dance. I can’t help but think of Aha’s “Take On me,” which feels a little unnerving, but the chorus provides respite in lazier, subtle vocal delivery. Likewise, the pre-chorus/chorus (?) hook of “Welcome to Japan” feels like classic Strokes, and is one of the most infectious moments of the record, even if the song’s verse is underwhelming. The song also drops a catchy outro that expands magnificently in the final minute-and-a-half.
“50/50” is one of the album’s most driving, gritty tracks, providing all the ferocity you love in the Strokes. The guitars and riffs are catchy and upbeat, but the song lacks the infectious hook they’re capable of producing. “Partners in Crime” balances the three avenues of synth, crunchy guitars, and upbeat pop. “Happy Ending” mostly lives up to its name without deepening anything the band has explored on the preceding nine tracks. Beyond that, the album’s final third sees some mellower tracks, especially curious closer “Call It Fate Call It Karma” with its dreamy melodies and low electric keys. I really enjoy the track, although it caught me completely by surprise.
Honestly, it feels a little silly writing a review of an album of this magnitude. It’ll take effort to totally steer clear of hearing a few tracks, and undoubtedly, the populace will enjoy them. Perhaps the Strokes have neither captured the greatness nor the distinct sound of their first couple of albums; then again, who happens to create something as profound as Is This It? on their first effort? Comedown Machine improves upon recent efforts by the Strokes, emerging as a solid collection of songs by a band who has managed to deliver quality music throughout the years.
