The Strokes, The New Abnormal | Album Review 💿

Alternative rock darlings The Strokes come back with a vengeance on their sixth studio album, The New Abnormal, their first in seven years.

Prior to the release of The New Abnormal, it had been more than seven years since The Strokes released a new studio album.  Comedown Machine arrived in 2013, getting respectable reviews overall, but generally, wasn’t hailed a triumph for Julian Casablancas and company.  Personally, I only vaguely remember the album.  While that’s not unusual considering the gap between it and The New Abnormal, typically, a really great album sticks with you.  Perhaps Comedown Machine wasn’t a really great album, but The New Abnormal is.  Is This It is still the standard to beat, but The New Abnormal certainly rocks.

“The Adults Are Talking” 

The Strokes commence The New Abnormal with a bang – understatement.  ✓ “The Adults Are Talking” is quick, energetic, and incredibly potent.  This indie-rock record possesses a fun, danceable sensibility. Julian Casablancas gives a muted, even-keel vocal performance for the most part, ascending into a sweet falsetto within the final two minutes.  The performance makes sense, given the messaging – the inability for a subordinate’s voice to be heard:

“They will blame us, crucify and shame us
We can’t help it if we are a problem
We are tryin’ hard to get your attention
I’m climbin’ up your wall.”

Besides the social and political aspects of “The Adults Are Talking,” there are also references to a relationship, which is pretty intriguing. The intrigue of The New Abnormal continues on ✓ “Selfless,” where the guitars sound particularly beautiful and ripe. Vocally, Casablancas is much more pronounced here compared to the opener, particularly on the second verse.  Once again, he gives us some delightful falsetto on the chorus, in addition to serving up some edgier, grittier moments.  Where “The Adults Talking” seemed to have various angles, “Selfless” focuses on matters of the heart.

“Brooklyn Bridge to Chorus”

✓ “Brooklyn Bridge to Chorus” continues the high-flying nature of The New Abnormal.  Once more, get your dance shoes on – the groove is ‘on 10’ to say the least.  The synths are prominent during the verses, bringing a disco, new wave vibe. The guitars dominate on the chorus, providing a stark contrast, yet remaining characteristic of the 80s inspired sounds. Of course, Casablancas informs us he’s hearkening back to the 80s in various instances, whether it’s “And the 80s song, yeah, how did it go?” or “And the 80s bands? Oh, where did they go?”

Speaking of old school, ✓ “Bad Decisions” keeps the vintage vibes ripe.  There are still 80s vibes written all of over it, but you can make the argument The Strokes take it back at least a decade earlier.  The bass is robust, the drums pummel, and the guitars are dirty – distorted and messy – a glorious sound ultimately.  As for Julian, his vocals are quite playful, particularly the moments he really digs in.  Worth noting, there’s a Billy Idol writing credit… Hmm, no wonder this single sounds ‘familiar.’

“Eternal Summer”

“Eternal Summer” is among the brightest records on The New Abnormal. Those synths – man, they hit hard! Julian Casablancas gives us all sorts of voices on this particular joint… it’s certainly something to hear.  Sometimes, he lays the wide falsetto on us, while at other times his gritty, embracing full-fledged chest voice.  There are even times he oscillates between both extremes.  Make of it whatever you’d like.  During all of the ‘voices,’ the band provides a mix of ultra-funky, sleek guitars, those bursting synths, and yet another inescapable, infectious groove, directly out of the disco, 80s new wave playbook.  

✓ “At the Door” continues The Strokes’ victory lap – have they had a glaring miscue on The New Abnormal? Absolutely not.  The electronic element is one of the biggest selling points as there’s some experimentation and innovative spirit. No worries – there are still plenty of guitars to complement the gorgeous electronic palette.  Further strengthening this cut are lovely lead vocals, a simple but highly effective, perfectly suited harmonic progression, and a memorable chorus:

“Struck me like a chord
I’m an ugly boy
Holdin’ out the night
Lonely after light
You begged me not to go
Sinkin’ like a stone
Use me like an oar
And get yourself to shore.”

“Why Are Sundays So Depressing”

Smartly, the guitars return prominently on “Why Are Sundays So Depressing.”  This is a more straightforward number, yet still has its fair share of colorful, synth touches.  Groove continues to bode well in The Strokes’ favor as there’s no way to listen to this and not move some part of your body.  Penultimate cut ✓ “Not the Same Anymore” is absolutely stunning, period. Some of the high points include a descending harmonic progression on the verses, the warm tone of the guitar, the robustness of the bass line, and, as always, the engaging vocals of Julian Casablancas.  One of the best moments of the song occurs during supremely expressive second chorus:

“I didn’t know, I didn’t care
I don’t even understand
Did somethin’ wrong, I wasn’t sure
Stay on top of this, or else
I was afraid, I fucked up
Yeah, yeah, yeah
I couldn’t change, it’s too late.”

“Ode to the Mets” initially seems like it is going to be extremely left of center.  After settling in, it’s quite accessible, at least from a musical standpoint.  Vocally, I love the hearing the lower register of Julian Casablancas in numerous instances.  No worries though – he goes all-in, showing off the power of his middle register.  All the while, the music plays without a hit (“Drums please, Fab”).  Lyrically, “Ode to the Mets” incorporates love and references ‘doors’ (again).  Also, Casablancas deliver on a song celebrating his favorite baseball team, albeit it nontraditionally.

Final Thoughts

All in all, The Strokes ‘bring the heat’ on their long-awaited sixth studio album.  Though it runs just nine tracks deep, all nine tracks are totally worthwhile.  Julian Casablancas is compelling from start to finish, showing the various capabilities of his voice, whether more muted, incredibly overt, or flaunting a mean falsetto.  Instrumentally, the band is locked-in, period. Clearly, The New Abnormal is the band’s best album in years, clearly trumping the more forgettable Comedown Machine (2013).

✓ Gems: “The Adults Are Talking,” “Selfless,” “Brooklyn Bridge to Chorus,” “Bad Decisions,” “At the Door” & “Not the Same Anymore”

The Strokes • The New Abnormal • RCA • Release: 4.3.20

Photo Credit: RCA