The Strokes were a band of a time. A time when music was drowning in a sea of synthpop, eurotrash beats, overproduced RnB and boy bands. They were a breath of life into an otherwise stagnating music industry. Their (almost single-handed) revival of the entire ‘indie’ scene spawned hundreds of imitators and henceforth made NYC the capital of cool.
Here’s the problem though: The Strokes will never be as relevant as they were. Angles is proof of that.
The Strokes are one of those bands that polarise the music world. Understanding them is completely different to liking them. Sure, screaming out all the words to ‘New York City Cops’ is good fun, but many of their albums don’t have the same effect. The Strokes haven’t matched up to their 2001 debut Is This It and middling albums such as Room On Fire, and First Impressions of Earth haven’t lived up to expectations. It’s no surprise that we’ve hyped up another Strokes album and been (shock horror) disappointed by it. It’s far from unlistenable, but it’s not what’s been promised.
‘Machu Picchu’, the album opener and standout track, is a successful combination of the danceable angular guitar rock and the slightly-but-not-really lo-fi garage sound that The Strokes have been working with for the past decade. First single ‘Under Cover Of Darkness’ isn’t quite as solid as the opener, but that Albert Hammond Jr. guitar solo muscles the song up into a catchy single. From there, the album starts to just blend together.
This article was nearly going to be a track-by-track review where each song got the same description: ‘This track sounds exactly like the Strokes, Julian Casablancas is whining about something he really should’ve grown out of, Albert Hammond Jr. is being awesome and Nick Valensi, Nikolai Fraiture and Fabrizio Moretti’s solid rhythm section provides a good, but not really memorable track.’ It seems like cheap journalism, but when each track has a slight distinction to alter it from the previous one, it’s fair journalism. ‘Two Kinds Of Happiness’, ‘Games’ and ‘Life Is Simple In The Moonlight’ have cliched 80’s synths. ‘Call Me Back’ is a slower track where Julian Casablancas doesn’t sound like he’s e-mailing it in. ‘Gratisfaction’ has blatant 60’s influences.
A band that recently dropped their 4th album, Interpol, came out of NYC at roughly the same time and have followed the same career trajectory as The Strokes. They’ve released album after album of okay songs, but unlike The Strokes, they’ve made a conscious effort to at least try to change their style from Post-Punk to a more atmospheric rock. The Strokes have stagnated.
The NYC lo-fi/garage/post-punk era has passed. May The Strokes (and Interpol), rest in peace. May the next counter-cultural bands to follow in their footsteps to revitalise the music industry learn from their mistakes.