Posts Tagged ‘The New Abnormal’

A seven-year reflection period with time for other musical projects has not given The Strokes any wind. In early April, the New York-based cult band released their new record. Each new album was invariably compared to their iconic debut album Is This It and then concluded ‘that it wasn’t like it was in their early days’. But let’s leave that out for a second at The New Abnormal. On the record, fresh synths are regularly given way and we hear Julian Casablancas sing like never before. “Brooklyn Bridge To Chorus” and opener “The Adults Are Talking” embody the new path the band is taking. Fortunately, the rattling guitars are not completely discarded and sound a lot more inspired than on their previous musical throws. Renewing without denying their roots, The Strokes did quite well on The New Abnormal.

The Strokes playing a slow-motion, dramatically heated game of baseball against a team of Terminator-like robots — possibly for the fate of the free world, possibly just as a Beer League scrimmage? Sure, why not: Like every other successful move The Strokes have made in their middle age as a band, the “Adults Are Talking” video follows its own logic and just goes for it, making sense sheerly through the group’s singular brand of try-not-that-hard self-confidence. Patterning their uniforms after the Houston Astros instead of their (maybe?) beloved Mets is one decision they’re gonna have to answer for back home, though.

The Strokes ‘The New Abnormal’ Available Now

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It’s 2020 and The Strokes are good again. Even Howard Ratner wouldn’t have taken that bet.

People asked for a new The Strokes record – and get a retro overdose. For the video of “Fast Times” guitarist Albert Hammond Jr. unpacks the old VHS recorder, lets some choppers roar over the Sunset Boulevard of Los Angeles and gambles all his money at the Pacman machine in the disco. The guitars don’t care. They sound like they did at the awesome festival gig of 2005 anyway. If there’s anything from The Strokes next year, we’ve warned you.

The ’80s bands, where did they go?” frontman Julian Casablancas ponders in “Brooklyn Bridge to Chorus,” a retro-tinged (and arguably at least slightly sarcastic) yearning for the good old days that spans throughout The Strokes’ first album in seven years. With a title like The New Abnormal feeling more relevant than usual given the global pandemic, nostalgia for a simpler time is higher than ever — and almost 20 years since their debut album, which arrived in the United States just weeks after 9/11, the NYC band’s signature melodies always strike the right chord, while Casablancas’ breezy falsetto still proves to be a much-needed exhale amid dark times

The Strokes ‘The New Abnormal’ Available 4.10.20

“The New Abnormal” is the long awaited new album from The Strokes, and the band’s first album in seven years. “The New Abnormal” is The Strokes’ sixth studio album and was recorded at Shangri-La Studios in Malibu, California, with legendary producer Rick Rubin . The New Abnormal is a long awaited new album release from The Strokes,. The album’s cover artwork is a painting called ‘Bird on Money,’ by famed artist Jean-Michel Basquiat. The album sees the Strokes roll back the years with an album of lo-fi intimate nuggets full of melodies that mark the Strokes at their best.

It’s been 19 years since their seminal debut ‘Is This It’, and with album number six, ‘The New Abnormal’, they’re still five of the slickest white men in guitar music – but now they’re older and wiser, and that’s not necessarily a bad thing. “I am having a selfishly good time,” Casablancas admitted at that gig, before double-checking: “But are you also having a good time?”

The answer, applied to ‘The New Abnormal’, is an easy yes, as while the album explores a few new directions, it’s still often fairly recognisable. The best stuff sounds familiar – few people ever have, or ever will, write a better riff than that of ‘Last Nite’ – and the worst, only peppered in small amounts, feels beyond experimental, as if pointedly ignoring what everyone else in indie rock is doing to stay fresh nowadays. Instead Julian and co. often settle into an afterlife of cantankerous synths only belonging to The Strokes.

The Strokes have now officially announced their new album. It’s called The New Abnormal, it was produced by Rick Rubin, and following the 2016 release of their Future Present Past EP on Julian Casablancas’ own Cult Records — it comes out April 10th via their longtime major label RCA. The album artwork (above) is a Basquiat, and the first single is “At the Door,” which is on the atmospheric side but singing-and-songwriting-wise sounds like classic Julian Casablancas. Not a bad first taste.

The Strokes also played a Bernie Sanders rally in New Hampshire last night and they debuted new songs during their set and covered the Talking Heads’ “Burning Down the House.”

he Strokes have shared a second single off their upcoming first album in seven years, The New Abnormal (due 4/10 via RCA). It’s called “Bad Decisions,” and it kinda sounds like the middle ground between “I Melt With You,” “Dancing With Myself,” and Is This It-era Strokes. The metronomic, guitar-led ‘Bad Decisions’ and ‘Why Are Sundays So Depressing’ – are sandwiched between more jarring offerings.

Take ‘Brooklyn Bridge to Chorus’ and ‘At The Door’. The former is a disco-synth bop with lively vocals and decidedly self-determining lyrics (“I want another day/I want another break/I want another start”). It’s not about what fans crave any more; these words may move you, but were ultimately written for the person who first sang them. The latter, drum-less celestial number, was the record’s first single, announcing a stark change of pace for the band. It now stands as one of the strongest tracks due to its commitment to the new mood, and some of the most contemplative lyrics. “Use me like an oar / And get yourself to shore’, Casablancas sings to someone we will never know.

The Strokes have always kept their feelings at arm’s length, but there are traces of deeper introspection on The New Abnormal’. There’s striking cinematic beauty to ‘Selfless’ and ‘Not The Same Anymore’.

‘Selfless’ plays like a daydream, opening with a waltzing guitar, and there’s plain but piercing romance in Casablancas’ lyrics. “Please don’t be long/I want you now” he sings over a wailing refrain that confirms The Strokes remain some of the best riff-makers around. Casablancas’ vocals are diamond-sharp on ‘Not The Same Anymore’, as he captures the inevitably of ageing, proving he’s still underestimated as a lyricist. “Now the door slams shut/The child prisoner grows up” comes the haunting confessional.

But Casablancas can’t be kept away from his beloved ‘80s synths for too long. This is more convincing electronica than most of 2013’s ‘Comedown Machine’ offered, but still weaker than the three-for-three hit-making albums ‘Is This It’, ‘Room on Fire’ and ‘First Impressions of Earth’. ‘Eternal Summer’ is as close as this album comes to a misfire. It’s a poppy, seasonal ode with a brain-melting falsetto, a tinny chorus and workmanlike lyrics such as “summer is coming / it’s here to stay”, which would be fine they weren’t delivered quite so earnestly. It bears the messy energy of the guy nobody knows in the crowd at a festival, who caught sunstroke and let his one canned cider go to his head.

The Strokes‘ first album in seven years, the third single is here. It’s called “Brooklyn Bridge To Chorus,” and it’s a dose of glittery, disco-y new wave, but done in an unmistakably Strokes way.

The one Strokes album that feels decidedly absent is 2011’s ‘Angles’, which surprisingly triumphed with its psychedelic influences and existential lyrics – one of the few times the Strokes successfully committed to something entirely new. The tracks that bookend ‘The New Abnormal’ were first teased at live shows over the past year. The opening seconds of ‘The Adults Are Talking’ might scare people off with abrasive electronic drum samples, until Casablancas comes in with a mellow vocal. As it develops, it’s unmistakably top-tier stuff. The analogue beats of ‘Ode to the Mets’ promise to close the album in similar fashion, before the song blooms into a slow-burn ballad, the central riff sounding as if put through a wind machine.

There’s plenty to praise on the record, even though the listener has been certified as a second thought. Like its cover, the Jean-Michel Basquiat artwork ‘Bird On Money’, it’s spiky but quite stunning. This is a cool album. The Strokes ‘The New Abnormal’ Available 10th April 2020.

The strokes album artwork

The Strokes  will release their first new album in seven years on April 10th, “The New Abnormal” (Cult/RCA), and the latest preview of the record arrived this week in the form of the track “Bad Decisions,” a slick rocker built around an anthemic, New Order-esque guitar riff. The retro infomercial-style “Bad Decisions” video, directed by Andrew Donoho, sends The Strokes back to the ‘70s scene Julian Casablancas’ lyrics set (“Dropped down the lights, I’m sitting with you / Moscow 1972”), imagining a world in which anyone can order their own cloned iteration of the band, customizing The Strokes’ looks and personalities to fit their exact specifications.

The New Abnormal is the long awaited new album from The Strokes, and the band’s first album in seven years. The New Abnormal is The Strokes’ sixth studio album and was recorded at Shangri-La Studios in Malibu, California, with producer Rick Rubin.

The album’s cover artwork is a painting called ‘Bird on Money,’ by famed artist Jean-Michel Basquiat. The Strokes are singer Julian Casablancas, guitarists Nick Valensi and Albert Hammond Jr, bassist Nikolai Fraiture and drummer Fabrizio Moretti.