|One Way Trigger|
|Get dressed in your bed, while she's asleep It isn't right, but it isn't hard Tell me, tell me, won't you understand? Show me, show me, show me a...||See the rest of the song lyrics|
Mar 26, 2013The Strokes’ hallmarks--those lean melodies, that steely interplay among guitarists Nick Valensi and Albert Hammond Jr. and bassist Nikolai Fraiture, the urgency of Julian Casablancas’s vocals--are largely absent on Comedown Machine, their fifth studio album. In their place is a looseness that’s refreshing enough, until you realize these guys are perhaps running short on ideas.
The GuardianMar 21, 2013For the most part, this sounds like a band running low on ideas, or motivation, or the indefinable magic that makes a band a band.
Mar 28, 2013Wow... I stay impressed with The Strokes, totally different from their previous Albums, and believe you me not a bad thing; Tracks like "TapWow... I stay impressed with The Strokes, totally different from their previous Albums, and believe you me not a bad thing; Tracks like "Tap Out" "All The Time" 'One way Trigger" Even, "Welcome to Japan" Yes, I am telling you this Album is good very different but so damn good, Although, all of my friends are not happy with it, I still recommend it to you. And that is just half of the songs, the reason why you might have problems liking this album could be the fact that Julian keeps his voice higher in some of these songs, something we are not used to. "80 's Comedown Machine" almost made me cry by far, my Favorite from the Album. "Slow Animals" and "Chances" two more songs that prove this Album is Fantastic and The Strokes have not lost their touch. The last track, something completely different yet, I find myself relaxing and loving it just as much... Don't be so quick to dismiss this album, it is definately worth a second chance... Again, I recommend this to you.… Expand
Nov 12, 2013The main problem with this album is that it's constantly being compared to Is This It and Room on Fire. Next to them, this album looks offThe main problem with this album is that it's constantly being compared to Is This It and Room on Fire. Next to them, this album looks off beat and strange, but we have to take into consideration that the band has been tired of playing formulaic post-punk for almost a decade now. Objectively, I see this as potentially being one of the top-100 albums of 2010-19. Julian's unique falsetto and the way the vocals blend into the music as opposed to taking the focal and the synths that sound like 80's with a modern breath make this a wonderful record, so long as you don't go in with the expectations of The Strokes famous post-punk spunk.… Expand
Jul 30, 2013I love this album, some songs completely keep to their original style "50/50 and Welcome To Japan." While others go in bold new directionsI love this album, some songs completely keep to their original style "50/50 and Welcome To Japan." While others go in bold new directions that were previewed in angles "One Way Trigger and 80 's Comedown Machine." The rest are somewhere in between and are all great!… Expand
Jul 22, 2014It's a strange record, but it's fun and great. It sounds like "Is This It?" as if it had been written in the 80's. Julian's voice really fitsIt's a strange record, but it's fun and great. It sounds like "Is This It?" as if it had been written in the 80's. Julian's voice really fits in the album, as he does falsetto here and there. If you liked Angels, you can't miss this one.… Expand
Mar 26, 201312 years makes a hell of a difference, doesn't it? The Strokes used to be the picture of sleazy New York City cool; nowadays, they've ditched12 years makes a hell of a difference, doesn't it? The Strokes used to be the picture of sleazy New York City cool; nowadays, they've ditched the denim jackets and untamed afros for tight leather and hair gel. The Strokes used to be hailed as the saviors of rock; nowadays, Julian Casablancas' adoration for 80s synth pop shines more than ever. One thing has remained the same through all these years, though: The Strokes are still The Strokes. Don't get me wrong, there aren't many parts of this album that'll make you recall that "vintage" Strokes sound. The high twangy guitars from "Someday," the detached growls of "Last Nite," and the disorganized defiance of "Take it or Leave It" are nowhere to be found. The stripped-down style that characterized Is This It has been traded for tight production and a fierce attention to detail. Despite this, Comedown Machine feels more like a Strokes album than anything since Room on Fire.
"50/50," for example, hits you with a ferocity reminiscent of Room on Fire's "Reptilia," featuring a chorus that stretches Casablancas' signature yell to its limit. "Partners in Crime" possesses some of the finest bass work we've seen yet from Nikolai Fraiture and a rhythm guitar line from Albert Hammond Jr. that just does not stop. Ever. You just have to tune yourself in to it. See, The Strokes haven't completely ditched their sound, they've just added to it. Even where they experiment, Julian and the gang still show signs of being that group that captured our hearts in the wake of the 9/11 tragedy. Opener "Tap Out" and "Welcome to Japan" showcase Nick Valensi's eye for precise melody while still allowing his frontman to question "What kind of drives a Lotus?" in signature croon. Lead track (and don't call it a single unless you feel facing the ire of Is This It apologists who hang on to the early days throwback "All The Time" as a sign that the old Strokes are coming back) "One Way Trigger" is an album highlight despite being far different than anything Casablancas and Crew have ever released. The initial reaction for listeners will undoubtedly be "Wow, this is Take on Me. This is seriously Take on Me." Like much of the rest of the album, "One Way Trigger" is absolutely influenced by 80s pop, but that's not necessarily a bad thing. 80s pop was fun. "Take on Me" is fun. I'm sure many of you find yourselves still singing along whenever it comes on the radio.
So despite all the changing, The Strokes are still fun. Isn't that why we liked them in the first place? We were all so infatuated with New York City sleaze that The Strokes simply allowed us to express our interests through music. In this sense, the 2001 Strokes were a band that made a trend accessible. Perhaps the 2013 Strokes are just trying to do the same? Of course, who knows where they'll go from here, now that their 5 record contract is over and done with? They've given no indication that they want to tour this album, nor have they given it significant press. The entire thing, from the throwback label to the relative haste it was produced with, seems like an "F you!" to the record label. The entire thing reeks of nonchalance, and isn't that as Strokesy as it gets?… Expand
Mar 28, 2017This Strokes album will always be the 'difficult' one of the bands discography, awkward and understated, seemingly falling under the radar asThis Strokes album will always be the 'difficult' one of the bands discography, awkward and understated, seemingly falling under the radar as much as is possible from such a big group. With no real advertisement and pushed out at the end of a five-album contract, it's easy to dismiss this as an unnecessary and bland project that even the band did not vocally back with confidence.
But to do so would be to miss out on what is genuinely an entertaining and well-put-together LP. When it's taken out of context, away from the ever-present dominance of their first two efforts, there are a lot of good moments on here. The opener 'Tap Out' is a great track to kick things off and introduce us to the slick, stripped-back sounds that pepper the rest of the album. From there, 'One Way Trigger' kicks things up a notch, only to be quietened down by the laid-back vocals of 'Welcome To Japan'. Other moments like 'Chances' show a softer, sadder side to the Strokes, and it finishes on an obscure note with 'Call It Fate, Call It Karma'.
This is not the pinnacle of The Strokes achievements, artistically or otherwise. But it is absolutely worth your time and opens up new dialogue about the possibilities of this New York five-piece and the direction they look to take in the future. There is a lot to get lost in with 'Comedown Machine', the anomaly of the Strokes back catalogue.… Expand
Apr 17, 2013I've heard a lot about this band and their supposedly amazing debut, but I haven't got around to listening to it yet. But I decided to giveI've heard a lot about this band and their supposedly amazing debut, but I haven't got around to listening to it yet. But I decided to give their latest release a try, seeing as it could well be the group's last album. Well, if that's the case, they're not going out with a bang. This is one of the weirdest albums I've ever heard barely audible voices, awful vocals, lyrics I can't make head or tail of, and a bunch of odd noises that send me reeling. It seems like something thrown together for a joke. The lead single, All The Time, is practically a crime against music. The only decent song is closing track, Call It Fate, Call It Karma, which is a beautiful ballad and a glimpse into what the album could have been. I've heard a lot of fans say that their debut was their opus and they slowly declined from there, so I'm surprised that most of them seem satisfied with this. I expected more effort from a final album.… Collapse
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