HANNAH LUTEREK AND MATT TURNER
Specials to The Leader
Matt’s Take:
A lot of pressure was put on The Strokes to release a great album.
“The New Abnormal” stands as their first album in seven years, since “Comedown Machine,” and arguably it has been 14 years since their truly great album with 2006’s “First Impressions of Earth.”
Personally, I think that the band delivered, but I might be biased since The Strokes sit comfortably in my top 10 bands of all time.
The sound on this album is incredibly unique and overall softer than previous releases, especially their first three studio albums, but I really dug it.
I was taken aback at my admiration for this album primarily because of how ‘80s rock-inspired it is.
When modern artists borrow from popular 80s music, it usually leaves me cold because it seems like a cheap way to cash in on nostalgia.
However, with The Strokes and Paramore on their release “After Laughter,” the ‘80s inspiration makes the album for me.
Of course this album is no “Is This It,” but it didn’t have to be.
It is a little disappointing to not get the effectively grimy guitar licks from that album, but the synthesizer work on “The New Abnormal” is great in its own way, and I respect the band for trying something new.
Comfortably containing nine songs and clocking in under 46 minutes, “The New Abnormal” is definitely an album that made me crave a little bit more.
Thankfully, the great selection of songs kept me from being underwhelmed.
Many tracks on this album are flat-out masterpieces and, when they aren’t masterpieces, they are at least good.
I can’t call a single track on this album bad, which is the sign of a truly great album in my eyes.
While fans of The Strokes’ more garage rock sound may be slightly disappointed in this album, modern alt-rock fans will eat it up for sure.
Three Standout Tracks: “The Adults Are Talking,” “At the Door” and “Ode to the Mets.”
Overall Score: 9.3/10
Hannah’s Take:
After a seven-year hiatus, Julian Casablancas and the rest of the gang are back to bless us with some new tunes during such a weird time to be a human being.
Now, I’m not really the biggest fan of The Strokes, but because it’s been so long since they’ve released anything new, I decided to go into this listening session like “Someday” hasn’t been ruined for me by cover bands at sticky dive bars.
I agree with Matt when he says this album will tickle the fancy of more modern alt-rock fans.
Each song is reminiscent of the mid-2010’s alt-rock you’d hear on local radio stations, which is not to say the album is bad, but definitely takes you back to a vaguely distant period of music.
I do appreciate that the group didn’t dump a mass amount of songs into one sitting; the swifter length makes it easier to digest and jam out to.
There were few moments when I was truly wowed by the album, but the second track, “Selfless,” is what drew me in.
Something about this particular song tapped into a weird part of my memory, one that recalls the trials and tribulations of coming of age. But that’s just my interpretation.
While the songs following were not nearly as unique and memory-provoking as this second one, Casablancas’s distinct voice singing sweet nothings is what kept me interested enough to push on to the end of the album.
I don’t think The Strokes accomplished anything out of the box with “The New Abnormal,” but I do think it will hook listeners with the classic sound of the band we’ve all come to know (and some of us have come to love).
Three Standout Tracks: “Selfless,” “Eternal Summer” and “Ode to the Mets.”
Overall Score: 7/10