Let’s play the guessing game. Which of these songs doesn’t sound like the others?
The Strokes’ single “Under the Cover of Darkness” off its first album in five years races through listeners’ synapses like the winning car on its final lap of the Indie 500. Warning: It may cause bursts of adrenaline and the urge to compulsively hit repeat. Guitars scream, drums roll and Julian Casablancas reminds fans why they should love him. Unfortunately for The Strokes, the concept doesn’t translate over the remainder of the album; the musical equivalent of promising a pie and delivering a beet. Granted, it’s probably the best beet anyone’s ever tasted.
Most songs lack the addictive allure present in “Under the Cover of Darkness.” Instead, they draw from more experimental techniques as the band explores its capabilities musically. “You’re So Right” features vocal layering to deliver an otherworldly song alien to past work. The Strokes also use effects to mismatch words in the same sentences, creating a vocal collage.
In “Life is Simple in the Moonlight,” The Strokes vary the pace of the song to keep listeners engaged during the more muted and spare instrumentals. The song alternates between an upbeat chorus and meandering verses while showcasing Casablancas’ voice.
His vocals remain infectious over the course of the album, strong and variable in range. In “Taken for a Fool,” Casablancas punctuates and blends his words. The effects fail to mask the clear singsong delivery of the phrase, “I know everyone goes any damn place they like,” similar to the style of the Red Hot Chili Peppers’ Anthony Kiedis. Casablancas’ lithe vocals also help The Strokes expose the tender underbelly of “Call Me Back.”
Members of The Strokes don’t depart from the topics explored in past work, despite the different musical framework. They do, however, mention a jacket made of meat. A reference to Lady Gaga? Maybe. Angles features lyrics that allude to naivety and the meaning of life, of which writer Albert Camus would be proud. The Strokes also continue to emphasize femininity with the mention of “sisters” and “mamas.” Although themes endure, listeners may miss the cheekiness that has defined Strokes’ songs.
The instrumentals in some songs harken back to the band’s broader portfolio, while others introduce new elements. “Metabolism” forwards the same dark, guitar-centric brand featured in “Ize of the World” off the group’s third album First Impressions of Earth.
The Strokes’ more collaborative efforts may have contributed to the difference in overall sound on Angles. Missing is the pure yearning of “Automatic Stop,” the nearly tangible kinetic energy of “Reptilia” and the endearing concern of “Someday.” These feelings appear fleetingly throughout the album in songs like “Under the Cover of Darkness” and “Taken for a Fool.” Taken together, though, the instrumentals on Angles don’t inspire the more consistent emotive power of past work. On Angles, The Strokes missed excellence by just a few degrees.
3.5 stars out of 5
