Tracking the Sound of The Strokes' Return

This past Sunday, The Strokes took the stage for their second performance at Coachella, the world renowned festival that transforms Southern California’s Colorado Desert every spring. Known for its intense heat, A list lineups, and unavoidable influencer presence, Coachella is a global spectacle where every move is scrutinized by a digital audience that spans the globe. While The Strokes have spent two decades cultivating a massive following through their indie sleaze persona and Julian Casablancas’ signature vocal processing, it wasn't just the music that caught everyone’s attention this time because of their message. During their performance of “Oblivius,” the band utilized the massive projection screens to display politically charged statements regarding CIA backed regime changes and America’s ongoing conflicts in Gaza and Iran. At one point, the screens flashed the blunt question: “What side you standing on?” giving a firm reminder to the crowd of the country's dark history and its active role in global harm.

As an American citizen, I find our current political and social climate impossible to ignore, and the more people who become aware of the impending consequences of standing by the current regime, the better. The Strokes set a powerful example of how artists can use their massive platforms to draw attention to government misdeeds and spark public discourse, knowing their fame can reach an audience far beyond a standard news cycle. This willingness to be contentious is exactly what keeps them relevant. They refuse to be just another legacy act relegated to the background of a desert party.

My own journey with the band started during COVID when I discovered “The Adults are Talking,” but lately, I’ve been taking a much closer look at their wider discography and have come to appreciate the nuances of their evolving sound. If you haven’t explored their catalog yet, I highly suggest listening to their 2013 album, 'Comedown Machine'. While I’ll admit it is a bit biased to call it their strongest album because it is my personal favorite, I think each track provides something genuinely new for the listener. The album explores themes of self identity and the complexity of relationships, departing from their earlier garage rock sound while still maintaining the key characteristics like the interlocking guitars and Julian's detached delivery that make the band so recognizable.

The record leans heavily into 80s inspired synth pop and New Wave while preserving that essential indie sleaze grit. For those looking to dive in, I recommend "80's Comedown Machine" and "Chances." Both tracks lean into a down tempo, bare bones aesthetic where the focus stays on one or two prominent instruments like the tape loops of a Mellotron or shimmering synths rather than a full wall of sound. This minimalist approach sets the stage for the closer, "Call It Fate, Call It Karma," which stands out as a complete thematic departure. By using a double bass and filtered vocals, the track feels like slipping into a surreal, atmospheric dream. It is a haunting way to end a record, leaving the listener in a state of quiet contemplation.

Ultimately, whether they are challenging the status quo on a festival stage or experimenting with the textures of a decade old album, The Strokes continue to prove they aren't interested in playing it safe. They remain a band that isn't afraid to make their audience uncomfortable, whether through sonic experimentation or political confrontation. As we wait for their seventh album, 'Reality Awaits', to drop this June, it is clear that the band is still finding new ways to keep their audience awake and engaged. In an era of curated aesthetics and polished PR, their raw honesty, both musical and political, is more necessary than ever.