{"id":1140,"date":"2020-06-07T23:07:34","date_gmt":"2020-06-07T23:07:34","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/the-strokes-the-new-abnormal\/"},"modified":"2020-06-07T23:07:34","modified_gmt":"2020-06-07T23:07:34","slug":"the-strokes-the-new-abnormal","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/the-strokes-the-new-abnormal\/","title":{"rendered":"The Strokes Settle the Score with ‘The New Abnormal’"},"content":{"rendered":"
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\"The<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

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by Erin Christie<\/strong><\/p>\n

Ever since my introduction to The Strokes some time in middle school, I\u2019ve been hooked. Back in 2012, I spent hours watching behind-the-scenes documentaries (notably, In Transit<\/em><\/a>, which details some of the band\u2019s antics all the way back in 2001) and interviews (one of my favorites being Nardwuar\u2019s<\/a>), eating up absolutely every little detail I could about this skinny jean-wearing, moppy-haired band from New York City. Even now, at twenty-years-old, that feeling of admiration hasn\u2019t faded, from following frontman Julian Casablancas\u2019 various side ventures (namely, J.C. + The Voidz, turned just \u201cThe Voidz\u201d), bassist Albert Hammond Jr\u2019s solo project, and guitarist Nick Valensi\u2019s band, CRX. Needless to say, I\u2019ve established a comfortable home up The Strokes\u2019 collective ass and have remained there for a while now.<\/p>\n

About a year ago, upon hearing that the boys were officially going to rejoin forces and release their first new record in seven years, it felt like my head was going to explode out of excitement. Now that that very record, The New Abnormal <\/em>(released April 10 via Cult and RCA Records),<\/em> is finally out (especially in a climate as chaotic as it is ), it\u2019s difficult to describe what I\u2019m feeling\u2014Comfort? A mish-mash of relief and unequivocal joy? It\u2019s a weird thing, balancing the fear I\u2019ve been battling since entering quarantine with the love in my heart that I have for The Strokes. And yet, here I am.<\/p>\n

When discussing the U.S. garage rock\/post-punk revival of the early \u201900s, not mentioning The Strokes would be a crime. Alongside bands such as The White Stripes, Interpol, Yeah Yeah Yeahs, and Franz Ferdinand, The Strokes helped pave the way for a new musical landscape\u2014one defined by simplistic, yet evocative instrumentation, backed by gritty bass riffs and pop-leaning melodies. The band\u2019s first record, Is This It<\/em> (2001), is an absolute triumph and sits on many publications\u2019 lists as one of the best debut albums of all time. With an introduction that strong, the group set the bar for the quality of future releases unbelievably high. And still, they have yet to disappoint me (but maybe that\u2019s my bias speaking). <\/p>\n

In the last almost twenty years, their sound has changed quite a bit\u2014note Casablancas\u2019 affinity for autotune in recent years and the band\u2019s adoption of synths into their repertoire. They\u2019re not the type of group to bend according to the will of the mainstream, nor change based on industry standards and that means, simply, doing whatever the fuck they want. There is a downside to bending the rules, though: with their last prior release, Comedown Machine<\/em> (2013)\u2014as much as it hurts me to admit\u2014they fell a little short of excellence, and I\u2019d be lying if I said I wasn\u2019t nervous about the prospect of their eventual comeback leaving a similar taste in my mouth (especially considering their questionable art direction for this album cycle in repurposing a classic Basquiat painting with overlaid WordArt text as the cover). <\/p>\n

Upon The New Abnormal<\/em>\u2019s release at 12 O\u2019clock sharp, though, I immediately felt my tear ducts overflow with pride rather than disappointment. As a die-hard fan that would literally lay down on train tracks for Julian Casablancas, I probably would have eaten up anything that this band released after all this time, regardless of whether or not it could be considered \u201cgood.\u201d But, thankfully, with The New Abnormal,<\/em> I\u2019m more than simply content with having another Strokes album to listen to; I really do<\/em> enjoy it. Listening through for the first time, it felt like the record\u2019s tracklist passed by in an instant; \u201ctime flies when you\u2019re having fun,\u201d and in this case, that was true. <\/p>\n

The New Abnormal<\/em> feels like a triumphant step in the right direction, or, really, a step backward if we\u2019re considering the band\u2019s storied history. \u201cAnd the Eighties bands, where did they go?\u201d<\/em> Casablancas whines on single, \u201cBrooklyn Bridge to Chorus.\u201d It\u2019s very much clear that this record is an ode to the \u201980s, prompted notably by the melody borrowed from Modern English with \u201cBad Decisions,\u201d a punchy, \u201cI Melt With You<\/a>\u201d-reminiscent song Casablancas says is \u201cabout 2016\u201d (note: this was the year the band released the Future Present Past<\/em><\/a> EP).<\/p>\n<\/div>\n

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The Strokes ‘The New Abnormal’ Available Now: https:\/\/smarturl.it\/TheNewAbnormal?iqID=yt Click to listen to The Strokes on Spotify: https:\/\/smarturl.it\/Stroke…<\/p>\n<\/div>\n<\/div>\n

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This new project is far from any other cliche love letter to the birth-time of post-punk and new-wave. On the contrary, The New Abnormal<\/em> conjures classic Strokes calling cards\u2014from flashy keys, subdued riffs, and danceable hooks\u2014with an added edge, as if they\u2019ve continued where Comedown Machine<\/em> left off and perfected what they had meant to do back in 2013. <\/p>\n

The record opens with \u201cThe Adults are Talking,\u201d a song they debuted at their LA benefit show<\/a> late last year. With heavy bass and upbeat snare via drummer Fabrizio Moretti, it\u2019s an immediate toe-tapper. \u201cThey will blame us, crucify us, shame us \/ We can\u2019t help if we are a problem,\u201d <\/em>Casablancas shamelessly states. It reads like a call-out to anyone who might feel prompted to judge this record without giving it a chance. <\/p>\n

The song ends with a subtle inclusion of studio banter and it feels like a nod to the newfound camaraderie the band has found in recent years after they\u2019ve each gone their separate ways and taken time to reflect. Now, they\u2019ve got the gears turning again and it\u2019s resulted in some of my favorite work from them. It\u2019s cheesy, sure, but simply hearing Casablancas\u2019 voice pouring through my earbuds again feels like a warm summer day. <\/p>\n

\u201cEternal Summer\u201d (which borrows instrumentation from The Psychedelic Furs\u2019 \u201cThe Ghost in You<\/a>\u201d) exhibits a particularly spicy higher vocal range\u2014while he\u2019s certainly owned his grittier falsettos with more recent tracks such as \u201cOne Way Trigger\u201d and \u201cOblivius,\u201d his vocal ability definitely shines here and throughout the rest of the record. This album exhibits some of Casablancas\u2019 strongest vocals to date, and that\u2019s part of what makes it such a success.<\/p>\n

Part of that success, too, lies in this record\u2019s versatility: it jumps back and forth from high-energy groove to laid-back ballad, and yet, it somehow all fits together cohesively. <\/p>\n

\u201cAt the Door,\u201d for example, threw me for a loop. It was the band\u2019s first official release since 2016 and the record\u2019s introductory single\u2014upon first listen, I almost didn\u2019t know what to make of it, especially when paired with the song\u2019s animated space-age music video<\/a>. Combining apocalyptic imagery\u2014that depicts an alien monarchy, a child Casablancas being crowned as king, and a scene reminiscent of the rabbit-hierarchy exhibited in Watership Down<\/em>\u2014it\u2019s a trip. And still, it makes sense in the context the rest of the record provides. <\/p>\n

Much of this record is an examination of the past, the present, and the future, taking a critical lens to not only our collective world but The Strokes\u2019 world on a more personal level. It\u2019s deeply emotional, rooted in frustration, longing, and even acceptance. The New Abnormal<\/em>\u2019s high points, at least for me, are those dripping with sentiment.<\/p>\n

Notably, \u201cNot The Same Anymore\u201d brought tears to my eyes. Like Whitney Houston once said, \u201cSongs like that, they\u2019re stories that people can identify with. Children will be singing that song at weddings, graduations, funerals\u2026\u201d Combining somber, sultry vocals and wailing guitar (that almost reminds me of Sting\u2019s \u201cShape of My Heart<\/a>\u201d), this track evokes an eerie sense of longing, as if you, too, are feeling as mournful as the lyrics express. I can picture this song soundtracking a scenario in which the hero of our tale walks the streets alone, head hung low, feeling defeated, and utterly lost. <\/p>\n

\u201cOde to the Mets\u201d contains a similar sort of energy in its distinct somber lull. I heard the track for the first time in a live atmosphere: on New Year\u2019s Eve as I witnessed The Strokes perform in a packed arena in Brooklyn\u2014taking a break from an otherwise jovial set. When the band began to play it, the crowd was utterly silent, in awe, and processing the first inklings of this new era with the utmost attention. Backed with bleak, somber guitars, and synths, as the album\u2019s close, it feels like a goodbye as it gradually fades away\u2014nostalgic, melancholy, and bittersweet. And maybe that\u2019s what it\u2019s meant to be\u2014a sort of goodbye to The Strokes as we knew them as, lyrically, it looks back on the band\u2019s New York beginnings. \u201cIt\u2019s the last one now, I can promise you that \/ I\u2019m gonna find out the truth when I get back,\u201d<\/em> as the chorus claims.<\/p>\n

_____<\/p>\n

Earlier this year, I had the fever dream-like opportunity to see the boys headline a rally in support of Bernie Sanders at the University of New Hampshire (as wild as that scenario sounds). Shortly after the band began their set that February evening, it became clear that the barricade was not nearly strong enough to hold the waves of frenzied fans, eager to get as close to the stage as possible. Standing second row, center, it felt as though my ribs were going to crack as security and other official personnel pushed as hard as they could against the rail in the hopes of keeping the masses at bay. Their efforts, however, were fruitless as soon after the set began, the barricade came crashing down, pushing everyone directly against the raised platform on which the band stood.<\/p>\n

Once the absolute shock of abruptly being pushed forward by the momentum subsided, the shock that I was leaning up against a stage on which The Strokes were performing overcame me. As I\u2019ve grown up, I\u2019ve attempted to shed the starstruck \u201cfangirl\u201d mentality; after all, the musicians I\u2019ve come to love are simply people, right? But, in this particular moment, of course, I was losing my mind. With rumors that The Strokes\u2019 hiatus had been prompted due to the members\u2019 collective unhappiness, it was a relief to see them enjoying themselves; to look up at the stage and find five smiling faces looking back. With The New Abnorma<\/em>l out now, that sense of relief is even more relevant\u2014the band is really back together. <\/p>\n

As I sit here in my childhood bedroom (where I\u2019ve been for the past almost three months now), playing the album over and over again, I feel oddly at ease. Though the world is falling apart and basically everything has been going wrong lately, The Strokes didn\u2019t let me down, and that\u2019s about all that I, and the thousands of fans still rallied behind them, needed. <\/p>\n

Make sure to listen to The New Abnormal<\/em>, keep up with the band via their socials, and tune into their series, 5 guys talking about things they know nothing about<\/a>. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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