Iris Xie: Rather impressive that a song that I would expect to be highly stoked on its enthusiasm would sound so subdued - it’s more like a reminiscence on bad decisions once made and a desire to relive those glory days. Casablancas stumbles through it all, trying for vulnerability but rendered distant by his signature vocal distortion.
#THE STROKES BAD DECISIONS PLUS#
Oliver Maier: Jumps between perfectly nice, wholly unremarkable new wave (my friend suggested “I Melt With You” plus “Dancing With Myself” I would throw in “Dreaming” - frankly you can mix and match as you see fit) and a bridge that sounds like the band on autopilot think Room on Fire several hours after the fire brigade left. The point isn’t that the Strokes ripping off two better tracks is in itself a wrong - Haim last year proved that derivation can be made worthwhile provided the right talents - but to render “I Melt With You” and “Dancing With Myself” as emotionless shells of nostalgia-bait in an attempt to evoke The Good Old Days only emphasizes how boring it is to try to care about this. Kylo Nocom: What does it mean when a song that’s considered a “return to form” rips off two better tracks? Yet more proof of the continued creative bankruptcy of INDIE ROKK!!!, and evidence enough to show that the critical hegemony of alternative music in the 2000s did nothing but give us an audience that only enjoys rock when cannibalized and shat out into its own tropes over and over again. Does he always sound this slurred, jerky, and unprocessed? The production is fine: my reaction of “This is not for me, may I please excuse myself from this song immediately” comes entirely from Casablancas’s vocals. It took me three tries, over three separate days, to make it more than two minutes into this song, but once I made it to the end I realized “Bad Decisions” isn’t quite as repellent as I’d first thought. Kayla Beardslee: God grant me the confidence of a canonized man in rock who thinks people want to listen to him sing. Katherine St Asaph: Did Casablancas always sound this much like Pat Monahan doing Bowie karaoke? Is that why he’s mixed so awkwardly, as if to emulate someone discreetly moving away the mic? With The Strokes, I’m stuck in a dingy room with a boring drunk monologist who resists entreaties to step outside for air.
Pictured: Julian Casablancas reading our blurbs…Īlfred Soto: Resisting jokes about the title is easy less easy is resisting the interpolation of “I Melt With You.” Modern English’s famous non-hit relies on the folk-indebted communitarian spirit of its chorus: the off key harmonies and the way the synth mimicked an accordion suggested the best kind of pub singalong. Donnie Trumpet & the Social Experiment.I LIE HERE BURIED WITH MY RINGS AND MY DRESSES.Email (song suggestions/writer enquiries).Casablancas called the presidential candidate “a dedicated, diligent, & trustworthy patriot,” and “the only truly non-corporate candidate.” You know what? I don’t know what I say generally, and I ramble a lot, but I love you guys, and it’s a real honor to share the stage and this night with you guys.”īoth singles follow the band’s performance at a Bernie Sanders rally in New Hampshire earlier this month. If you really love someone, you’ll be frozen with them.
And now we’ve been unfrozen and we’re back. At a New Year’s Eve show in December, Julian Casablancas said, “The 2010s, whatever the f*ck they’re called, we took ’em off.
The Strokes are planning on having a big year. Now, the group is back with a video for another new track, “Bad Decision.” The song has a more traditional Strokes sound than “At The Door,” but the video is where the abnormal comes in: The ’70s-style clip is presented as a long commercial for buttons that produce clones of the band (very much like a Meeseeks Box from Rick And Morty). They previously announced that The New Abnormal is set to drop in April and shared the album’s lead single, “At The Door.” Julian Casablancas and his cohorts are set to change that his year, though. The Strokes last released a full-length album in 2013.
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