what kind of asshole drives a lotus?

Comedown Machine-The Strokes

     While recording Angles, Julian Casablancas told Rolling Stone that they had been recording songs that  influenced by 70s rock. Comedown Machine, apparently, would be the 80s counterpart.

      Besides the similarity to Julian's disappointing and sluggish Phrazes of the Young, the boys make their influence  glaringly obvious with tracks such as the somewhat monotonous namesake '80s Comedown Machine" and the almost over-synthesisized "One Way Trigger". (On the bright side, at least it does make for a very danceable song.)

      As to where there's any of that original Strokes sound left, you could either be a purist and go huddle with your Is This It album or accept that the band has been gradually evolving in style and that it's not necessarily a bad thing. One of the ironic drawbacks of having one of the greatest debut albums of all time is that you're going to spend the rest of your career trying to match it, and often failing your fans' expectations.

Of course, fans will search for Julian's signature raspy voice  or ache for something more exciting-Comedown Machine lives up to its name in that the second half of it slows way down in thrill factor).

But Julian's guttural sound can be found in at least one song, rocker "50/50", in which he loudly begs not to be judged and the insanely catchy "Welcome to Japan" is sure to be a favorite to those aching for the Strokes' melodic garage rock, and to anyone else really. That song is great.

      Speaking of great, check out that great big RCA logo-That's the Stroke's way of commemorating the five years of the contract they had with the record label. Now that their stint together has come to an end, who knows where the Strokes will go next?

here i am, not quite died

      

The Next Day-David Bowie

Returning to the music scene after a decade long hiatus, the ever enigmatic David Bowie surprised fans when he announced that he'd be releasing a new album on March 8. The album was completed over the course of two years, kept secret by Bowie and the non-disclosure agreements he made the band sign while in the studio.

      The aptly mysterious album art is merely a recreation of his previous 1977 album Heroes (the original album name is causally crossed out), with Bowie appearing to hold a white box with the album title 'The Next Day' in his iconic pose: perfect comeback image for the man of mystery and art.

      Two singles and music videos were released prior to the albums release-'Where Are We Now?' in which Bowie's face hides us through a melancholy journey ending with 'As long as there's me/As long as there's you' and 'The Stars Are Out Tonight', an quasi-film in which Bowies characteristic obsession freaky-paranormal gives birth to a story of a mysterious set of new neighbors (Aliens? Rock stars? Rock star aliens?) turn upside down the 'nice life' of a conservative married couple.

      The rest of the album is all in all a pleasant surprise, widely regarded as his best album since the success of 'Let's Dance' about three decades ago. The songs range from melancholy and introspective ('Where Are We Now?' and 'Valentine's Day') to upbeat ('How Does The Grass Grow') and include what may become a Katniss Everdeen anthem ('(You Will) Set The World On Fire').

      The hour long album shows us Bowie's been working hard. But there are also hints that he's written even more songs, during his working period, songs that could spill over into a whole other album. That would be good news for Bowie fans, considering he's sworn not to present any live performances for this album. Perhaps the next one?

      Either way, a music legend is back on his feet, and even without the six inch glitter boots he's standing tall. As his iconic song warned: Look out, you rock n rollers.

Check out "The Stars Are Out Tonight' music video here.