Five years is a long time no matter how you slice it. But in the music industry, it’s an eternity.
An eternity is how long fans have waited for Angles, The Strokes fourth studio album. Much like everything the Strokes do, this album will be put through the hipster/music-critic/fanboy grinder. Statements will be made like, "After five years this is all we get?" "Only 35 minutes of music." "This isn't Is This It." "I wish they sounded the same as they did then." (Example No. 1)
Some people will hate it simply because it’s The Strokes, because they feel the band doesn't take their music and themselves seriously enough. Others will hate it for the exact opposite. And for all the same reasons, people will love them. Fair to say, The Strokes are polarizing no matter what the opinion is. And, oddly enough, through five years of impatience along with their public and private issues, the band seems to be comfortable in the skin of hipster opinion.
An eternity is how long fans have waited for Angles, The Strokes fourth studio album. Much like everything the Strokes do, this album will be put through the hipster/music-critic/fanboy grinder. Statements will be made like, "After five years this is all we get?" "Only 35 minutes of music." "This isn't Is This It." "I wish they sounded the same as they did then." (Example No. 1)
Some people will hate it simply because it’s The Strokes, because they feel the band doesn't take their music and themselves seriously enough. Others will hate it for the exact opposite. And for all the same reasons, people will love them. Fair to say, The Strokes are polarizing no matter what the opinion is. And, oddly enough, through five years of impatience along with their public and private issues, the band seems to be comfortable in the skin of hipster opinion.
Is This It, this is not. But it’s the closest The Strokes have come since their 2001 opus. Julian Casablancas' voice has taken a backseat to the music as it did back in 2001, which allows it to shine through once again. His speak-sing style once again matches pitch to every note and becomes part of the soundscape instead of drowning it out like it did many times on First Impressions of Earth. Yet, Casablancas still manages to reach new heights with his vocal range.
'Machu Picchu,' the album's first track, sets things off with a slow reggae beat mixed with '80s synth that builds into a thrashing guitar-riddled chorus. By the end of the song, it has quickly said The Strokes are back and ready for a fight.
'Under Cover Of Darkness,' the album's lead single, is right out of the 2001 playbook, a bounce-around and dance-carelessly tune, whether at work, in the car or just listening at home. It’s a return to form that adds all the interesting sounds and tricks the band learned over the past decade.
Casablancas' voice does a weird drone over a beat that could only be considered the cousin of 'JuiceBox' in the song 'You’re So Right.' But that quickly changes as the chorus approaches and the guitars of Nick Valensi and Albert Hammons Jr., take the listener on a sonic tidal wave that is over just as it gets good and leaves the listener wanting more ... and inevitably hitting repeat on any iPod.
'Taken for a Fool' is a perfect meld of everything expected of a Strokes song, a great ride without any extra filler while 'Call Me Back' is a slow song. Most people seem to dislike this type of track from The Strokes, but this time it seems to work. Maybe it’s the simplicity of it, the showcasing of Casablancas' voice over simple piano, guitar and synth sounds as well as a great mixture of lyrics nowhere near as repetitive and annoying as 'Ask Me Anything.'
'Life is Simple In The Moonlight,' another song with a slow tempo that builds ever so slightly to a smooth synth chorus, in and of itself seems almost dream-like, evoking feelings of nostalgia and a simpler time, like prom night 1982.
'Two Kinds Of Darkness,' 'Games' and 'Gratisfaction' are all worthy songs in their own right and would be highlights on either of the last two albums, but don’t stand apart here. At least not on first listen. 'Metabolism' is a good song but feels almost leftover from First Impressions, perhaps the only misstep for this album. Though as a misstep, it’s a small one, and nothing that will have The Strokes falling from the ledge anytime soon.
Overall, a great album with complex lyrics that covers most of the bands ideals in politics, love and music. Casablancas is more than willing to use his well-disguised sarcastic wit to let the world know the music industry is willing to pass crap off as music, but if the audience just wants the same album over and over again, well, he will be more than happy to comply ... right after pigs fly.
Some will dislike this album for the simple fact that, after waiting an eternity to hear The Strokes next attempt, they were handed something different than what they came to except. The ones who are Is This It fans as opposed to Strokes fans may not find this album appealing. But after five years-in-waiting, The Strokes' sound was bound to change.
The Strokes have grown up and found an old/new sound. The question is, after waiting so long to hear their newest release, are we ready for all the Angles from which it will come?
The Strokes have grown up and found an old/new sound. The question is, after waiting so long to hear their newest release, are we ready for all the Angles from which it will come?
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