The Strokes - Comedown Machine

As far as album titles go, this is worryingly indicative. The New York indie gods' return in 2011 with the at-best mishmash Angles was effectively torn to shreds by the music press and whilst the furore was slightly exaggerated and undeserved - Under Cover of Darkness was beautiful - it was a large step down from the three records which made their name. Whilst the die-hard fans bicker over which album is best, we all know that it's Is This It, and therefore any attempt by Casablancas and co. to deviate from the lo-fi, chirpy indie line is unavoidably going to be met with tentative displeasure. Certainly, their numerous side projects - solo (Julian, Albert) and otherwise (Little Joy) - weakened down the culture shock, and the electronic elements of Angles were accepted as progress.

Yet, to begin experimenting always risks the songwriting side of things suffering. The first cut released from Comedown Machine was 'One Way Trigger', the wildly eccentric series of random notes that seemed more suited to a Super Mario bonus level than a new album. It almost seemed the intention was to just wrap a blanket over our heads and just suddenly rip it off: we're blinded by the sudden change of light, and a little confused.

The dancey opening to 'Tap Out' immediately restores that sense of deviation from their typecast. It's pleasant, but works best when Casablancas isn't doing his shrill drawl - the moments just after the choruses where guitars groove and fit together funkily are the only real moments of satisfaction here. We move onto the much more familiar 'All the Time', where Fabrizio Moretti does his best to kickstart some reverie over what's otherwise a rather lacklustre lead single. Certainly, the cohesion on 'One Way Trigger' is much more accomplished, and whilst the hook is a little offputting, it all comes together relatively well, and feels like a fully-realised idea.

Meanwhile, they come across as pointlessly resentful on 'Welcome to Japan' ("what kind of asshole drives a Lotus?") and wistfully vague on '80s Comedown Machine' ("I've tried too hard to get back there/ but you never try anymore"), and both are done over pretty, but pretty insubstantial melodies. Casablancas tries to relive the good old days with the echoed, distorted vocal stylings on '50/50', and strong guitar-riff driven hooks, and he pulls it off. The band take a moment to reflect on the generation gap on 'Slow Animals', asking fathers rhetorically where their daughters are ("the next generation will forget"), all the while over the album's strongest-growing tune.

Maybe there's some sense to be made of the likes of 'Partners in Crime', but to me it just seems like ball of energy running away from them. Too often on the album, the Strokes are happy to just go with whatever they've recorded rather than polish it up a bit, or retake inaudible vocals.

Ultimately, this isn't anything close to a focussed album. The real problem is it still feels like none of them are interested in making a record together. They've all got their own little sideprojects now, and that's fine, but this feels second best. That much they've made abundantly clear by not touring it.

Rating: 5/10
Highlights: 50/50; One Way Trigger; All the Time; Tap Out; Slow Animals
Avoid: Welcome to Japan; Happy Ending

Artwork Watch: Uninspired.
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