The Strokes - Angles 80/100

During their first ten years of existence The Strokes experienced enough to rival the entire careers of most other bands. Every major and independent label initially rejected their first demo, only to later compete in a bidding war after a few endorsements in the British media sparked the hype machine. Their debut, Is This It, ranks as a distant second to The Velvet Underground & Nico for the title of "Album With More Positive Reviews Than Copies Sold." In the aftermath of their tenure as Hottest Band On Earth, The Strokes released their first critical failure, First Impressions of Earth, took a five year hiatus and ventured into separate and mostly uneven solo efforts. When they announced the deets regarding Angles, it became apparent the album marked a critical point for the band. Will they flame out as another act anointed too soon or solidify their status among rock's elite? Angles indicates the latter, but not in a completely convincing fashion.

Julian Casablancas emphasized to the press that he purposely avoided physical collaboration with the band to allow them proper space to explore their increased roles as creative contributors. Many times that approach works to their advantage. "Two Kinds Of Happiness" sounds like what The Cars might have been with a little more aggression. Albert Hammond Jr. adds a guitar harmony to the outro of "Games" similar to those used so effectively by Metallica in the 80's. Drummer Fabrizio Moretti capitalizes on his opportunity in the shuffling "Taken For A Fool," which recalls Is This It with paranoia replacing that album's insouciant vibe. Hammond and guitarist Nick Valensi trade complementing licks in "Life Is Simple In The Moonlight" while Julian recedes to the shadows during the verses.

Don't get the wrong impression though; Casablancas still knows exactly when to enter the spotlight to maximize the potential of these songs to the best of his ability. He enhances the Depeche Mode-influenced "Games" by sustaining and altering notes during the chorus that blend wonderfully with the layering of snyths. A less ambitious band (Interpol) would rather employ the aforementioned group's use of monotone chants for a predictable outcome. Even though he steps back at times in "Life Is Simple In The Moonlight," Julian completes the freak out breakdowns by providing the necessary energy to keep up with his bandmates. "Gratisfaction" bounces with the effervescence found in better performances by Rivers Cuomo. The smaller role Julian accepts on Angles actually makes his times to shine even brighter than on past records.

As with First Impressions Of Earth, Angles comes with a few miscues, although here they feel minimal. The electric staccato of "Call Me Back" interrupts the nearly flawless flow they build through the first six tracks. Julian provides a decent vocal that keeps the album from meandering into complete oblivion. Although some of the risks they take pay off greatly, "You're So Right" flounders along with a repetitive drone that comes off like a dog unsuccessfully chasing its tail. The Strokes should ignore their impulse for songs like this and continue to develop their growing sense of rhythm found on the morphing opener "Machu Picchu" and first single "Under The Cover Of Darkness."

Unfortunately The Strokes will deal with overreation, counter-reaction, revisionist history and the overrated/underrated argument for as long as Western Civilization exists. Every move they make will come with detractors criticizing them for what they didn't do and naysayers for what they did. Angles brings a spirit sorely lacking from their last album and possibly their most complex work yet in "Life Is Simple In The Moonlight." They deserve a tip of the cap for pursuing new sounds and styles amongst all of the speculation. Angles proves the sum remains much greater than the separate parts, although that sum might have slightly decreased after the first decade.