The world — the indie rock one, at least — divides into two camps; those who believe the Strokes should stick to infinitesimal variations on Is This It, and those who’d rather have them do anything other than that. Comedown Machine has the goods to satisfy — and piss off — both camps, and that’s exactly as it should be. Although initially hailed as minimalism-savvy saviors anointed to rescue a dying rock scene from the continued injustices of corporate nu-metal, the Strokes have from the start been far too cosmopolitan to be an unqualified back-to-basics band: No act fronted by Switzerland boarding-school swells could pretend they’ve never ventured beyond a suburban garage.

As suggested by the album’s pre-release tracks “All the Time” and “One Way Trigger,” the quintet’s fifth album is both classic Strokes and the furthest thing from it yet. “50/50″ offers a heavier variant on the distorted vocals and nervous guitars that drove the kids crazy on “Last Night,” while “Partners in Crime” borrows that song’s caffeinated Motown beat even if it sneaks in a crazed, nearly Van Halen-esque guitar solo at the end. There are hooks, snappy arrangements, and louche swaggering aplenty here: The Strokes haven’t stopped being… read more »