Review: The Strokes' The New Abnormal is a magnificent return worth waiting for

By Farhira Farudin

The Strokes will forever be known as the band that started the 2000 decade with a full-on bang, the saviour of rock n roll and ultimately the band that became the soundtrack of many millennials who rejoices to alternative music during their high school life. But that was 20 years ago. Six full lengths studio albums and one EP later, they proved to still be one of the greatest rock bands of the 21^st century.

Many fans were enthralled when they first announced their comeback after seven years of hiatus and multiple solo side projects. Their new album ‘The New Abnormal’ which dropped on 10^th April and accompanied by Jean-Michel Basquiat artwork as the album cover, the return feels needed now more than ever. What else could their fans should be doing in times of quarantine except to wallow their musical souls in their latest project?

Their return proves to be far from disappointing. The album opens with a mellow banger, ‘The Adults Are Talking’ that will still have people talking many years later. It is simply the perfect album opener. Their vocalist Julian Casablancas also continues to prove himself and the listeners as more than just a guy who hides his vocal ability behind the lo-fi effects like he did in their debut album. Julian’s vocals shines in this album more elegantly, which further showcases that his own insecurities on his vocals are merely projection on his own. There was absolutely nothing wrong with it. In ‘Eternal Summer’ his falsetto is loungey and melodramatic and calming and you would wish it would last throughout the entire song. Instead the song breaks down into a heavy and rough chorus. The transition of his vocals feels cartoonish during the first listen, but how can anyone not forgive him for those beautiful falsettos? It’s too dreamy to be complained about. Even in the worst track ‘At the Door’, which also happens to be the album’s lead single – an odd choice – Julian’s vocals became the savior. But the track still feels lackluster and too draggy, even for a ballad. It makes you question why the track was included in the near flawless album. The production of the album is as crystal clear as ever, and nine tracks felt too short and left the fans thirsty for more. But as for now, we’ll take what we can get from the band whose return might not be seen in the nearest future. As for now, it’s the perfect offering to their long-awaited fans.