‘The New Abnormal’ is the sixth studio from The Strokes. Recorded with Rick Rubin at Shangri-La Studios in Malibu, could it be the return to heroism for the epoch changing New Yorkers?
Artwork by Jean-Michel Basquiat
Every post-war decade has had debut albums that changed the landscape. For many bands, they can never escape its power. The Sex Pistols never made a second, The Roses probably wished they hadn’t and Oasis were forever chasing yesterday.
When ‘Is This It’ hit the reset button in 2001, they ignited everything. Without them, The Libertines would still be a dandy band and bloated 90s music would have lasted forever. The Strokes, were so indebted to the good feeling of 2001 to 2003, it’s been hard for anyone to think of them beyond that point. Add into the mixture that, their dynamic is akin to the Roses, a gang of brilliant musical minds all knowing their worth, the creative process has never appeared fun for them.
‘The New Abnormal’, is mostly, the sound of tentative steps back towards each other. The exhilaration only flickers but, the integrity of the debut and new risks are taken. The archetype of what fans want from bands they adored in their youth.
‘Not The Same Anymore’, embraces the tiredness of their late 30s/early 40s and acceptance that youth has finally absconded. The youthful glisten of ‘Trying Your Luck’ has become a wiser and exploration for something more meaningful.
‘Brooklyn Bridge To Chorus’ sees Casablancas finally nail his falsetto (again on Eternal Summer). This disco meets The Strokes stomp has the hallmarks of Johnny Marr’s majesty loitering and, will allow breathing space from fans braying for ‘Last Nite’.
The urgency of the debut hits sparing moments of fever pitch on ‘Bad Decisions’ The knowing ode to Generation X’s ‘Dancing With Myself’, delivers lick after lick as well as hazy gothic nods to Robert Smith and Rich Good.
Lyrically, the depths of the bands wounds, addictions and relationships are plunged. Some will profess ‘Strokes hangover continues’, we question, has Casablancas ever sounded this open? ‘Selfless’, deals with the omnipresent danger of addiction. The imagery of life under addictions watching eye emanates on ‘Brooklyn Bridge To Chorus’ to:
“Actually, no thanks, I'm okay
And then he would send weird looks my way
I want new friends, but they don't want me
They're making plans while I watch TV
Thought it was them, but maybe it's me
I want new friends, but they don't want me”
Those tentative steps creep towards a band of brothers on ‘Why Are Sundays So Depressing?’ and ‘Ode To The Mets’. While the up-tempo desires of Strokes fans still escape the band, the guitar parts of Valensi and Hammond Jnr remain of the utmost quality. Furthermore, there is a hunger and defiance not seen since ‘You Talk Way Too Much’:
“I was just bored playing the guitar / Learned all your tricks, wasn’t too hard”
Brilliant, era defining it is not. Sowing the seeds of hope, and more importantly, their happiness. Yes. The Strokes might not be back with a bang, but, they’re back!