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.