The RCA logo that dominates the album art of Comedown Machine sarcastically signifies The Strokes fulfilling their five-album contract obligation to the label. With similarly endearing cheekiness, the opening song is titled “Tap Out.” Inside jokes aside, Comedown Machine is a seriously approached indie-pop album that furthers the band’s hip cosmopolitan sound. “Tap Out” plays with striking similarities to Julian Casablancas’ solo album Phrazes for the Young, replete with falsetto vocals set to muted disco flourishes. But the following single “All The Time” properly sets the album’s tone with The Strokes' familiar post-punk influences and driving guitar riffs chugging alongside Casablancas’ more recognizable tenor. It’s impossible not to recall A-ha’s 1985 synth-pop hit “Take On Me” when hearing the percolating keyboards in “One Way Trigger”—especially when Casablancas ramps up his glassy falsetto to Morten Harket’s range. But with help from producer Gus Oberg (who also mixed the band’s preceding album, Angels), The Strokes succeed at importing such '80s influences without drowning in them. The RCA logo that dominates the album art of Comedown Machine sarcastically signifies The Strokes fulfilling their five-album contract obligation to the label.

With similarly endearing cheekiness, the opening song is titled “Tap Out.” Inside jokes aside, Comedown Machine is a seriously approached indie-pop album that furthers the band’s hip cosmopolitan sound. “Tap Out” plays with striking similarities to Julian Casablancas’ solo album Phrazes for the Young, replete with falsetto vocals set to muted disco flourishes.

But the following single “All The Time” properly sets the album’s tone with The Strokes' familiar post-punk influences and driving guitar riffs chugging alongside Casablancas’ more recognizable tenor. It’s impossible not to recall A-ha’s 1985 synth-pop hit “Take On Me” when hearing the percolating keyboards in “One Way Trigger”—especially when Casablancas ramps up his glassy falsetto to Morten Harket’s range.

But with help from producer Gus Oberg (who also mixed the band’s preceding album, Angels), The Strokes succeed at importing such '80s influences without drowning in them.

Comedown Machine accomplishes in 38 minutes what nearly a decade and a half of backlash and schadenfreude could not: make the Strokes look like total nerds. This isn’t so much of a revelation as it the culmination of what’s been happening ever since First Impressions of Earth.

Jun 28, 2017. Welcome To Japan. 80's Comedown Machine. Slow Animals. Partners In Crime. Happy Ending. Call It Fate, Call It Karma. The Strokes - Comedown Machine [iTunes AAC M4A] (2013).rar. Google Drive. (Indie Rock) [CD][EP] The Strokes - Discography - [8CD] - 2001 - 2013, FLAC (tracks+.cue)(image+. Livre Anatomie Pdf Gratuitement. cue), lossless 1.78 GB The Strokes - Future Present Past EP (2016) FLAC 254.57 MB.

When these hip, eclectic New Yorkers released their debut album, Is This It, at the turn of the century, it helped turn rock 'n' roll back on its fast, edgy feet. Sure, they're moneyed, handsome and talented, but The Strokes still managed to keep things cool, roughing up pop's sheen with catchy, garage-gritty songs like 'Last. Download the strokes comedown machine rar. Click here to get file. Download the battle of los angeles 1999. My love for fantasy art and only the things that don t exist. Download album clik here pass rar kit3. Prostitutes basic house mirror gate vol. Oh damn look at this fancy master post. First impressions of earth newbury.

They got one classic album and another great one exhausting a sound that evoked decades of New York squalor chic through indestructible songs and contradictory images: garages where Orange amps are parked next to Benzes, a trust-funder’s highrise apartment lousy with beer cans and leather jackets, dive bars frequented by models and rock stars. Everything since has taken cues from styles more associated with parents’ basements, musty vinyl shops, and convention centers: dinky synth-pop, surf rock, prog and the weird science of countless 1980s New Wave bands. This flipping of the script can actually be seen as a canny move, recasting the Strokes as lovable underdogs: where they once defined effortless cool, the deeply uncool Comedown Machine smacks of effort. That goes a long way towards making Comedown Machine more immediately appealing than their last two records; the Strokes sound like they’re genuinely trying here. The functional cover art of Comedown Machine suggests some kind of mixtape the Strokes made for themselves, 11 songs that turn out like 11 different genre experiments viewed through the unmistakable prism of their inhuman rhythmic precision and pinched EQ’ing. There are a couple of Is This It? Throwbacks (“All The Time,” “50/50”) that turn out to be among the least satisfying things here, too flabby to fit into those same jeans from a decade prior.