Five years ago the music scene consisted of either sparkling, bubble gum pop or the polarizing angry white men on power trips. But then came along an inexperienced New York quintet called the Strokes who were assigned the daunting task to save rock-and-roll from boy-band domination. The group's debut album, Is This It, proved to be a success as it revolutionized musical trends by focusing less on synchronized dance steps and impassionate anger and more on lyrical depth and instrumental edge. The Strokes had unknowingly launched the alternative rock revolution, popularized disheveled hair, vintage tees and garage rock and paved the way for future rockers like the Killers, Jet and the Postal Service.
But fast success is ultimately succeeded by pressure to follow in your own footsteps, pressure to prove yourself as more than just lucky beginners; and, unfortunately, the Strokes were unable to keep up the pace. Their lackluster sophomore record, Room on Fire, was mocked by the critics and ignored by the fans, allowing misconceptions to stir that the Strokes were nothing but overrated kids guided by strategic PR. They had debuted in perfect timing, in the fizzle of the over-hyped '90s trends, sending them straight to mainstream acceptance and forcing critics to change their minds and label the band as lucky rather than talented.
But now that this decade, one musically defined by the sound they unwittingly created, has passed its midpoint, the Strokes are back, a bit more mature, a tad more chiseled and a whole lot better. In their third album, First Impressions of Earth, the New York quintet doesn't steer away from their organic sound, but simply improves upon it. Persistence has led to precision and the entirety of the album is marked by its tightness, an unwavering sound that screams success and echoes honesty.
The Strokes debut album gave them permission to sit in the driver's seat of success, and Impressions makes it apparent that they did not enjoy the ride. Releasing the album shortly after the holidays, a time of the year when new music is left hiding in the Oscar-buzz shadow, is certainly the Strokes' way to separate themselves from their mainstream rivals. Impressions is comprised of 14 great tracks, but not one of them is worthy of being overplayed on the radio. Their sound is catchy, but not addictive. Inconspicuously deep, this album caters to no one except the most passionate of fans, the kind of fan who is just as bitter about the group's popularity as the bandmates.
The album opens with "You Only Live Once" depicting the band's ambition and carefree spontaneity. Frontman/songwriter Julian Casablancas' condescending lyrics layered atop a Weezer-like melody make this the most infectious track on the album. It symbolizes the Strokes' newfound infallibility; a group who can receive wave reviews even before the critics hear a single track.
The following two tracks contain a similar catch. The innocently entitled "Juicebox" offers a kaleidoscope of melodies and tempos, making the song as bemusing as it is beguiling. The intricate picking heard on "Heart in a Cage" is guaranteed to leave both experts and civilians in a mouth-drooping awe.
However, these opening tracks present the underlying question raised from the release of Impressions: If the Strokes are trying to stray away from their pre-established mainstream popularity, why did they choose David Kahne as the album's producer? Kahne is a storied producer credited with the fame of cookie-cutter groups like Sugar Ray and the Bangles. Although good at his job, his touch lessened the Strokes distinguished organic vibe, making it obvious that the band is trying to make money just as much as they're trying to make a statement.
Regardless of the group's intentions, the Strokes are unwaveringly passionate about their music, making it nearly impossible not to adore the scrawny quintet. Although Casablancas' lyrics are at times dry and uninspiring, he says it best on the closing track "Red Light" with the biting lines "I can still see yesterday sailing away / seven billion people who have nothing to say." Leave it to the Strokes to remind us all of our insignificance in this unfair and unforgiving world.
However, the biggest fault in Impressions is its lack of direction. The cohesion of the middle tracks is a bit far-fetched; the songs take inspiration from unlikely suspects like Barry Manilow and Shane MacGowan. But whether done accidentally or purposely, the Strokes have a way of mixing the safe bets with the risky numbers, creating an album that may individually lack but collectively rocks.
They've deflated their egos, deflated their hype and genuinely succeeded. Their previous attempts were just for fun, but First Impressions of Earth pushes the group beyond its established threshold. The album offers an insight into the Strokes' bizarre mindset. They want your compassion, but they'll take your money. Love them or hate them. They really don't care.
Grade: 4 out of 5 stars
