Opinion
By James Pavel

 The Strokes are back for the second time in the past four years, and this time it’s worth all the balloons and whistles that were reserved for their first comeback.

 The Strokes latest album, “Comedown Machine,” was released with zero warning, little hype, and minimal discussion. And yet here stands perhaps their best work since the “Room on Fire” album, their secondary work of brilliance that proved that they were not even close to one-trick ponies.

 Unlike the 2011 album “Angles,” (you know? the one that was supposed to be their comeback album), “Comedown Machine” has zero interest in demonstrating how the group has grown up and matured like a son back from his first year abroad at college.

 The Strokes have recaptured their groovy edge, their unsolicited rawness, and have re-discovered their ability to make a strong and complete album. They’ve also forgotten about proving something that wasn’t necessary and have met the standard the New York brutes originally set so high for themselves.

 The Strokes have released what at this moment sounds like the rock album of the year, creating the perfect-sounding mojito of synth, angst and bliss.

 And yet their summer revival exists beyond this fantastic wizardry.

 The latest Daft Punk album, “Random Access Memories,” is loaded with 90’s throwback dance and contemporary jazz, which will either make you cringe or further applaud one of the most over-rated duos in recent memory. The album’s shining gem is “Instant Crush,” a track featuring Strokes’ lead singer, Julian Casabalancas, who mercifully injects some human soul into this robotic tornado of a half-dozen genres.

 “Instant Crush” isn’t a Daft Punk song, but a Strokes’ song that is unfortunately placed on an album of inferiors.

 “ComeDown Machine” is their best album since their early hay-day and “Instant Crush” is a bright light on one of the season’s most discussed albums. The Strokes, ladies and gentlemen, are finally back.  

 

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