Album Review by Juhi Matta
Comedown Machine — The Strokes
(RCA, 2013)
My Rating: 4.5/5
Standout tracks: Welcome to Japan, Slow Animals, Partners In Crime
Dictionary.com defines comedown as “a feeling of disappointment or depression”.
Fortunately, The Strokes’ fifth LP doesn’t stay true to its name.
When The Strokes released the synth-heavy track “One Way Trigger”, fans were blindsided. The song instantly polarized listeners. It was hard to believe that the track was sung by the same Julian Casablancas who belted out tunes like “Reptilia” and “New York City Cops”. Yet, the A-ha influenced One Way Trigger proved to be both fun and refreshing. Unlike anything the band had ever released, the song was more of a grower than an immediately catchy tune.
With the release of The Strokes’ fifth album, Comedown Machine, came even more conflicting opinions. Some have hailed it as their best album since 2001’s Is This It, but others opine that it is their worst. Comedown Machine is neither. Though the album is no Is This It, it is evident that the band didn’t intend to make another Is This It or Room on Fire. Where the charm of The Strokes’ critically acclaimed debut lay in it’s lo-fi approach, Comedown Machine relies on it’s slick and smooth tunes. The new album isn’t for fans yearning for Is This It part deux but is definitely an album for people looking for good music.
Tracks like “Welcome to Japan”, “Partners in Crime” and “Tap Out” stand out because of their wonderfully executed solos. The witty lyrics make the songs even more enjoyable. On the standout track “Welcome to Japan”, Casablancas asks, “What kind of asshole drives a Lotus?” not-so-subtly mocking those sports car owners. Yes, we all know at least one of those. On “Partners in Crime”, he muses “Let’s all be honest / Where there’s a forest / We don’t belong”. Many more witty one-liners (likes of which are frequently seen on the band’s Twitter) make appearances on the album.
For what it’s worth, Comedown Machine also contains throwbacks to The Strokes’ earlier works (the first official single, “All The Time” and “50/50”). However, the albums strengths clearly lie in tracks like “Slow Animals” where the band takes a risk. The track ends with the sound of Gus Oberg (producer) laughing, which demonstrates the sense of rediscovered camaraderie among the band — something visibly lacking in 2011’s Angles.
Comedown Machine is far from flawless, though. While tracks like “80’s Comedown Machine” and “Call It Fate, Call It Karma” are not bad, they still feel like they don’t belong on the album.
Even then, the album is a step in the right direction for the band. Where does that step lead? Only a Stroke would know. But as their contract with RCA comes to a close, one thing remains evident: The Strokes aren’t looking to please anyone or do the “cool” thing and sell millions of records.
And isn’t that what made them famous in the very first place?
life in terms of music 