The New Abnormal

by The Strokes

Released April 10, 2020 via Cult Records / RCA Records

Originally reviewed April 21, 2020

Top tracks (based on community voting)

The Adults Are Talking (48%), At The Door (40%), Ode to the Mets (40%)

The New Abnormal is The Strokes’ latest album, released seven years after their last project. With their first two records standing the test of time as alternative rock masterpieces, there was hope this would be a comeback record. For the most part, this record delivers on that. “The Adults Are Talking,” “Selfless,” “Brooklyn Bridge to Chorus,” and “Ode to the Mets” are incredible tracks and clear standouts; these more than make up for the more lackluster moments, such as “Eternal Summer” and “Not the Same Anymore.” Trim the fat and The New Abnormal is rock gold that’s enjoyable for long-time fans and newcomers alike. – Daniel (8/10)

On The Strokes’ first album in seven years, the darlings of the mid-2000s New York indie rock scene are able to take us back with just the right tinge of nostalgia. In many ways, The New Abnormal is just what you would expect from The Strokes—tight instrumentals, Casablanca’s distinct and slightly-raspy vocal performances, and spurts of danceability. But The New Abnormal differs from your typical Strokes record with an increased level of maturity that sees the group sounding more introspective and sophisticated than ever before. – Dominick (8/10)

The Strokes return for the first time since 2013's Comedown Machine as their interwoven, immediately catchy take on indie rock finds fresh ground amidst the 'new normal.’ Things haven't changed too much, but a new sense of quality is apparent from the get-go. Julian seems to have brought the experimental edge of The Voidz home to The Strokes. There aren't many partnerships as pleasurable as Nick Valensi and Albert Hammond Jr.'s. Their upbeat and clinically catchy approach to melody and guitar parts in general—at least to this standard—have been missing for far too long. The New Abnormal can be seen as a comeback of sorts, as it is most definitely their best work since 2003's Room on Fire. What the New York collective produce next will be of peak interest. – Peter (8/10)