The project featured a noticeably different sound compared to their earlier efforts, with a much more laid-back vibe.This was something fans feared ever since news of the fractured collaboration on Angles came to light.Since then, however, the band have not been quite as fortunate releasing albums that never really lived up to the first, inter-band feuds which led to solo releases and a long hiatus.
Seemingly now on good terms again, The Strokes have recorded their forthcoming fifth album Comedown Machine, the reception of which so far has been mixed, and is causing somewhat of a ruckus. The album opens with Tap Out, of which the muted, rhythmic melody of guitar and synth immediately brings to mind soundtracks to 80s 16-bit games like Shinobi. Julian Casablancas then chimes in with his relaxed falsetto, which suits the tight, mellow groove really well. This song encompasses and sets the tone for a good chunk of the rest of the album. More of a familiar territory to Strokes fans, this is a punchy display of loud, clashing instruments accompanied by Casablancas classic dispassionate, distorted vocals. The Strokes Comedown Hine Rar 320 Download One WayFree download One Way Trigger taps back into the bands new 80s synthy pop sound. As a first impression for the album, it is obvious why it had a mixed reception back in January. A quick tempo and funky electro beat joined by Casablancas high pitched, feminine wails is enough to confuse even the newest of Strokes fans. Yet, when listened to within Comedown Machine rather than a standalone track, it begins to make more sense. Debatably the best song on the album, Welcome To Japan is full of charisma and humor, and gives off an infectious desire to have a little boogie of your own. Nikolai Fraitures powerful bass is reminiscent of classic Strokes of the past, as are Nick Valensis guitar licks on later track, Happy Endings. Again I find myself remembering the loss of a life during numerous games on my Atari, as the almost-title track, 80s Comedown Machine begins. The low-key, softened loops and airy vocal coda make for a wonderfully depressing and dreamy number. Tempo and pitch are brought right back up again for the electrifying 5050. This short burst of bloodthirtsy garage rock sees Casablancas sneer with a fierceness not heard since the early days. This is more like the original Strokes than anything else you will hear on the record and its good. Very good. Slow Animals once again enforces the unpredictable character of the album. Compelling melody and vocal changes slowly build up to a bittersweet chorus. The group laughter at the end of the track is seemingly a reminder of the friendship that has been rebuilt between the band. Final track of the album, Call It Fate, Call It Karma is, without a doubt, the strangest song The Strokes have ever penned. Covering a range of Cuban rhythm, slow piano, jazz guitar and breezy, high-pitched vocal melodies, it creates a vibrant daydream effect of life in the 1940s. With its eerie and nostalgic tones, you can image the stage curtains closing slowly on the fading of this track. Some believe that The Strokes have found a new winning formula with Comedown Machine.
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