"The New Abnormal" sounds different from what the band members have put out in recent years • They seem to have gone through the self-fulfillment phase

• Finish the individual adolescence phase. Album cover

"I just wanted to be one of the Strokes. Now look at the mess you made me do." In this line, which has already become iconic, two years ago Alex Turner opened his band's latest album, Arctic Mankies, and sparked a complete uproar.

Turner actually admitted that all the glamor and figure of the urban modern poet he owed to another cheeky band that 19 years ago brought back the guitars and rock 'n' roll to fashion. In the test of time, the historic role of the Strokes was probably to herald the return of the Gage sound and influence an entire generation of creators who came far from them.

But, "The New Abnormal" is the new album for the New York Quintet, and the first in seven years - sounds significantly different from anything its members have put out in recent years. At the start of the year and the new decade of the Strokes in Brooklyn, Julian Casablanca declared: "We've been thawed back to life, and we're back." He obviously meant it, because in their new album - The Strokes finally sound like a live, hungry band again.

Legendary rock producer Rick Rubin was called off to resurrect, but it's hard to say his fingerprint is felt here. These are nine songs designed in the familiar Strokes aesthetic. The one that combines the distortion and the phase effect (which became the hallmark of the composition in his formative days) with the electronic atheist and synthesizer lead that characterized his later work.

By the 1980s, the correspondence with them is not hidden and it exists here up to the level of borrowing chords. "Bad Decisions," for example, the fun of the album's songs, is Billy Idol's 1998 "Dancing with Myself" homage to "At the Door" is a classic Strokes song, reminiscent of how talented this band is and knows how to write Pop songs with a hook that almost makes you dance.

If their new album is an indication of the mood, it is evident that the Strokes have gone through their members' self-fulfillment phase, completed their personal maturation and mutual hatred phase, and recorded an album of the vehicle that changed something in this world, even if it did not become as huge as they thought it would. His friends are now looking two decades back as the adolescent rockstars they are, and maybe finally thinking to themselves: "Maybe it was all fun after all."

, "The New Abnormal" Strokes

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