Album Review: The Strokes “The New Abnormal” dropped this month
In 2001, The Strokes released their debut album, Is This It, injecting a new energy throughout the rock music scene. By 2002, their profound influence was evident as a plethora of similar bands emerged. The Strokes’ signature sound has since been one of the most recognizable. Since then, the New York quintet has released multiple records, not often venturing far from the recognizable accompaniment that has defined them since. Their new album, however, displays growth and new territory for The Strokes.
On April 10, they released The New Abnormal, a title prescribed long before any of us could have predicted the state to which we are currently adapting. Unlike that of their first record, this release will unfortunately not incorporate nightclubs packed with patrons, anxiously awaiting a live performance from the iconic band. Rather, an audience altogether-isolated, coping with the…new abnormal, the many uncertainties the future holds and the anxieties they create.
The album kicks off with “The Adults Are Talking,” a number initiated with synthesizer drum patterns that, from the start, convey a sense that the band has evolved. Soon after, with the discernible guitar strumming of Nicholas Valensi and Albert Hammond Jr., the track takes us back to nostalgic Strokes territory.
“Selfless,” and “Brooklyn Bridge to Chorus” continue to balance futuristic synth and traditional sonic fury one expects from The Strokes. Julian Casablancas’ lyrics are still delivered in the recognizable fashion that catapulted the band to stardom two decades ago.
“Bad Decisions,” the second single released from the album, contains one of the album’s catchier melodies, and is followed by “Eternal Summer,” a seemingly prophetic song, venting the frustrations with those burying their heads in the sand, ignoring warnings of urgent dangers which lurk in the near future. “I can’t believe it/This is the eleventh hour…”its haunting message resonates.
“At the Door” is the lead single the band chose from the new record. It serves as a perfect example of the band’s extensive evolution. The synth-driven number might be the most emotive, uniquely-structured piece of music on the record.
The LP propels onward with “Why Are Sundays So Depressing,” and “Not the Same Anymore” find the band in a state of reflection, shutting to doors of the past and introspectively designing an approach toward whatever might soon arrive.
In the album’s finale, “Ode to the Mets,” more synth is juxtaposed with guitar in a slightly off-beat pattern. Once Casablancas’ vocals arrive, the instrumentation falls in sync. “Gone are the old times/Forgotten, time holds on the railing…”this song is the perfect summation of the album. It reflects on the past, faces the present,and prepares for the upcoming unexpected and foreseeable future.
Having taken much of the 2010 decade off; releasing two LPs within a two-year span between 2011-2013, and occasionally touring, The Strokes have redefined themselves through more complex song structure and instrumentation, while loosely adhering to their highly-recognizable signature sounds on their first recording in seven years.
This album is not only an appropriate vessel for coping, wrapping our heads around the directions in which this world continues to spin, it might be the best album from The Strokes in over a decade. The New York five-piece crew has done it again when the world needs to hear it most. Grab your copy directly from the band.
The Strokes:
Julian Casablancas – Vocals
Albert Hammond Jr – Guitar
Nick Valensi – Rhythm Guitar/Keyboards
Nikolai Fraiture – Bass
Fabrizio “Fab” Moretti – Drums
