The Strokes - Angles (Album Review)

THE STROKES * ANGLES

RCA Records

When The Strokes first burst into our lives 10 years ago, they drew comparisons to Nirvana; not for the music they were making, but for the shift in the musical climate their specific sound was supposed to indicate. It seemed like in the matter of months, they became one of the biggest bands in the world. They headlined the world's premiere festivals, were known as over-the-top partiers, dated celebrities and ruled the rock world for the better half of this century's first decade. So when they went on hiatus a little over 4 years ago after their mind-blowing debut and two equally respectable follow-up albums, it was a bit of a gut shot to their always supportive fan base. Less successful side projects and solo albums followed, but it wasn't until Angles was officially announced late last year that Strokes buzz started all over again. Unfortunately, the anticipation for The Strokes' fourth LP seems to have outweighed the product.

Angles kicks off with "Machu Picchu," and doesn't sound at all like The Strokes. Rather, it sounds like Junior Senior trying to be The Strokes. It's as if they didn't know if they should sound worldly, progressive or just be their old natural selves; the result is a major disappointment to anyone who has waited patiently for new material the past 5 years. The album's lead single, "Under Cover of Darkness," follows with a burst of energy harkening back to the Is This It? days. "Two Kinds of Happiness" is a strong next step, allowing the listener to reminisce about discovering The Strokes the very first time...smart, fuzzy guitars punctuated by Fab Moretti's signature crisp drum lines. "Taken For A Fool" starts off weak but grows more boisterous as the chorus hits. Aside from these minor highlights, though, the rest of the record doesn't pay homage to The Strokes' breakthrough debut, but rather actually makes us ask, is this it? By releasing "Under Cover of Darkness" as the first single, they pulled off the classic bait-and-switch, as the overwhelming majority of Angles is a lazy, soulless mess.

"You're So Right" & "Games" make Julian Casablancas sound like a malfunctioning droid; definitely not the one we're looking for. In these songs and many others throughout Angles, he borrows from the electronic effects that made his 2009 solo debut Phrazes For The Young so successful. Unfortunately for us, though, those traits do not mesh with the aesthetics his bandmates have brought to the table. It doesn't help that for a solid 6-7 songs, Julian just sounds bored and uncommitted, as if it's a chore for him to even be in the studio.

And then there's "Call Me Back." What the hell is this? Julian & company slow things down to an insufferable pace that not even a diehard Strokes fan could enjoy. If this song made the cut, what are the leftovers that Julian and guitarist Nick Valensi speak of in terms of material for the supposedly already-in-the-works fifth LP?  "Call Me Back" is not only the worst song on this album, but probably the worst one The Strokes have ever written, recorded or thought of. If there are indeed leftovers from the Angles sessions, I have very little faith in their strength or promise. Angles ends with the mostly forgettable "Metabolism" and "Life is Simple in the Moonlight." 35 minutes after patience was supposed to be rewarded, the listener is given a half-assed, haphazard effort that will immediately begin to collect dust.

I'll accept the fact that rock & roll fans are notoriously fickle and hard to please. I'll admit that a band who has had such early success as The Strokes will have a difficult time ever recapturing that same kind of acclaim. I refuse to believe, though, that this is the best we could get from a band knowingly capable of releasing substantially thoughtful and exhilarating material. Angles was phoned in, and intentional or not, it's a snub to The Strokes' devout fans.

Grade: C-