The back and forth between Albert Hammond Jr. and Nick Valensi is the best in the biz. The tones are so good, you wonder how they got them. The 1-2-3 punch of the first three tracks finds Julian all over the map with his vocal style. Any lesser band would sound inconsistent and unsure of their sound, but the other four guys are so rock solid, it works wonderfully.
This new identity is bound to ruffle a few feathers, mainly those who yearn for Room on Fire: Part Two. I love those old records as well, but you have to admire the bravery it takes for the Strokes to sound like they do now. I imagine, however, that before that bravery, came compromise. It's no secret that Julian's solo record Phrazes for the Young was a foreshadowing on the Strokes' future sound. Where Angles seems like he strong-armed them a bit to lean to the pop side, Comedown Machine finds them willingly shuffling in that direction. This record is more adventurous, yet it feels unpretentious and fun. Poor album art does not a poor record make. In fact, it seems they want nothing to distract you from the music.
It's short, done before you realize. The final track, "Call It Fate, Call It Karma," is doozy. It feels like you're coming out of a dream. That much is true about this solid LP: these are the Future Strokes, and the dream is a (comedown) time machine.
