REVIEW: The Strokes - Comedown Machine

It wasn’t until the 25^th of January when The Strokes released a free download for the song One Way Trigger on their Facebook page that I became aware of their plans to release new material in the near future – this was then confirmed when later in the month

they announced that a new album - Comedown Machine would be available on the 26^th of March 2013. The song itself caused much controversy amongst social networkers; some debating whether they had lost the Rock n’ Roll element to the band or that they’d replaced their guitars for synthesizers for good (or for worse!). It appears that what the fans were complaining about is that it doesn’t sound like a song that could have made it onto the band’s successful – and arguably revolutionary – 2001 debut album Is This It which, let’s face it, is what a large quantity of the fans are after! Instead, the song – and album as a whole definitely has a 80s new wave element which at times almost has a Talking Heads vibe to it. I’d say it’s more alike their previous album Angles – which was hinted at only having been released purely in the interest of money – than their legendary Is This It but it is definitely different – saying this however, bands do evolve and The Strokes are, of course, no exception.

Until the vocals come in on the opening song Tap Out, it almost sounds as though it could be mistaken for a Rick Astley track – which undoubtedly makes for an interesting introduction to the album! Its disco backbeat and bouncy synth-pop guitar riffs are commonplace throughout the album and its title track in particular 80s Comedown Machine genuinely makes you feel as though you’ve hopped onto the Tardis and returned to the 80s with the solitary drum beats followed by the organs in the intro – which has a strange resemblance to Ultravox’s Vienna, yet it is - in my opinion - one of the strongest tracks on the album along with All The Time and 50/50 which are possibly the most traditional Strokes songs on there.

As a whole, it can be said that Comedown Machine is an improvement on Angles and a definite step back in the right direction for The Strokes. Saying this however, Casablanca’s vocals throughout are somewhat sloppy and lack the passion and furore that he’s been known for providing in their previous albums. Also, where he sings in his falsetto, his vocals often sound flat and lifeless – particularly in Slow Animals, Happy Ending and the ultimate track on the album; Call It Fate, Call It Karma – an almost jazz-like number which although does make for a refreshing track, the vocals don’t quite make the cut to leave an overall striking impression on the album. Comedown Machine isn’t disappointing; it’s just not particularly impressive either.

Overall Rating: 6.5/10

5 Best Tracks: 80s Comedown Machine, One Way Trigger, 50/50, Tap Out and All The Time.

REVIEW: Palma Violets - 180

 After first reading about Palma Violets in the NME back in May 2012 in which they recommended the band for fans of Echo and the Bunnymen, The Doors, and The Libertines’ house parties - I instantly became interested. Immediately I began searching the internet to find some form of evidence for the NME’s comparisons, however, it wasn’t until August when the official video for Best of Friends became available on YouTube. I was impressed and became extremely eager to hear what more they had to offer when they announced their debut album 180 – named after their studio in Lambeth – was to be released in March 2013.

The opening track Best of Friends makes it easy to see how somebody could make a connection between Palma Violets and Echo and the Bunnymen due to their similar psychedelic sound, however, I would say that the album as a whole has a lot more tinges of The Clash in there – from the fast paced tempo produced by drummer Will Doyle and almost aggressive chanting in Rattlesnake Highway to the eerie wolf calls in Last of the Summer Wine – it’s easy to see their influences.

In my opinion, the comparison that has been made to The Libertines is fairly inaccurate when considering their actual sound; whereas The Libertines were primarily a guitar band, perhaps the most unsung hero with this album is keyboardist Pete Mayhew who could be considered as being responsible for the overall semi-psychedelic sound to the band. Also, Sam Fryer’s vocals have an eerie sound to them which – along with the reverb - makes him sound almost alike Ian Curtis of Joy Division as opposed to Pete or Carl. Saying this though, a similar passion and ethos to The Libertines is definitely there.

Johnny Bagga’ Donuts (track 8), is where bass player Chilli Jesson’s vocals really come into play; whereas throughout the rest of the album he is mainly responsible for backing vocals and harmonies, here is where he fully steps up as co-frontman. In a style which replicates The Who, Jesson lengthens consonants and sings with a passion and a sound that is more youthful to Fryer’s and therefore makes for a refreshing sound on the album.

The album finishes with the climatic 14, however, it doesn’t quite end there; like The Stone Roses, Blur, The Libertines and many more have done before them, Palma Violets sneak in a hidden track which goes by the self-explanatory name of Brand New Song. Like the rest of the album, the final song on 180 doesn’t specifically excel lyrically but it’s fun, fiery and makes for easy listening. It’s a brilliant effort for a debut album and I look forward for what else is to come from Palma Violets and more importantly, they give me hope for modern guitar music again.  A one sentence summary? 180 is the sound of Joe Strummer and Mick Jones listening to Love Will Tear us Apart on a narrow boat... on the Thames... drinking Special Brew... in 2013.

Overall rating: 8.5/10

5 Best Tracks: Best of Friends, Last of the Summer Wine, Rattlesnake Highway, Johnny Bagga’ Donuts and 14.