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Neither horrible nor great, Time of the Assassins is an unassuming album, a working holiday that was probably more enjoyable to make than for anyone besides die-hard Strokes fans to hear.
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Unfortunately, his songwriting isn’t much better, which is surprising given the catchy, melodic bass lines he’s consistently laid down at his day job.
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Time of the Assassins could have used a few more trips to the Rolodex to bring in a ringer of a singer or two, since Fraiture doesn't seem up to the task, or necessarily even into it.
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His lyrics certainly won’t help, but if he wasn’t a Stroke, this album could only be sold out of Fraiture’s trunk at open-mic nights in upstate New York.
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The Strokes-ish quality is in the music's rigor: Assassins combines groove and melody with the same machinelike precision that sets Fraiture's other outfit apart.
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Part of what made the Strokes so exciting was the flair they brought to the old trick of sounding hot while looking cool. On his solo debut, bassist Nikolai Fraiture never manages either.
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Alternative PressMostly it works. [Mar 2009, p.113]
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FilterIn this debut, Lou Reed and "Gallows Pole"-era Led Zeppelin mix with Fraiture's honest storytelling and obvious familiarity with a good hook, thus ensuring that while these tracks won't be slam dunks, they will hold up against detailed scrutiny. [Holiday 2008, p.94]
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Q MagazineWith stylistic echoes of The Kinks, Pixies and non-dancing Stones roses, the songs' themes of social isolation, romantic frustration and other junior Dylan-isms suggest a talent yet to mature. [Feb 2009, p.113]
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Time of the Assassins is an interesting insight into the creative mind of another member of one of the decade’s most important bands. It’s in no way a substitute for a fourth Strokes record, although if songwriting was to become more of a democracy in the Strokes, maybe their next album could see them once again upping the bar.
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His flat baritone suggests he’s still new at this whole “getting angry” thing, but the dude’s got the damaged part down.
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UncutIf the elastic funk of 'You And Everyone Else' comes as a welcome surprise, put it down to the contribution of underrated backing band South. [Feb 2009, p.85]
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Under The RadarThe Time Of The Assassins feels like the work a of a decent high school band who had tons of money for studio time. [Winter 2009, p.73]
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Tellingly, Mark Ronson loves this album. Truth is, it's fine, and perfectly adequate, but nothing more.