The Review:

In 2001, one of the biggest bidding wars for a rock band in years took place after the Strokes released their debut EP, The Modern Age. What for? Whoever signed them would have a classic. Their logo on every physical copy that sold would give them eternal bragging rights. “We signed the Strokes. Fuck everyone else.” You didn’t need to be a record executive to know there was something special about that band throughout those 11 minutes of music. For fans, it was only the beginning and the album that eventually did come out was, indeed, a classic.

The Strokes have not put out a record in almost seven years. Speaking of which, 2013’s Comedown Machine has a few hidden gems, but the record stands out only because it is their last full-length record in such a significant amount of time. 2016’s Future Present Past EP is a blip in the band’s history just as Comedown Machine would have been if they put out an album’s worth of material sooner. However, Julian Casablancas was too busy with the Voidz, and Albert Hammond Jr. was too busy with his own solo work. A string of shows in 2015 gave fans a glimmer of hope for new music, but that was soon dashed after the tour wrapped up and AHJ put out his third solo album later that same year. The band did keep busy playing shows over the years. They maintained that new material was on its way, but Strokes fans know the deal. Until they see actual music, they won’t get their hopes up. All that talk about who was in the studio with who doesn’t mean a damn thing if it doesn’t include a release date and an album cover, but now we have one.

“At the Door” is their debut single to their upcoming new album, The New Abnormal, which is is due out on April 10. The song begins with fuzzy synth chords reminiscent of 8-bit music. Then Casablancas comes in with his signature vocals that match the melody laid out by the synth. This song tries to do a lot with very little, but what those synths are capable of is impressive. They begin to flesh out around the 2:20 mark and work in tandem with Casablancas’ vocals. They’re full, vibrant, bright, and grandiose. They signal a change coming. Moreso, Casablancas’ performance here on this track is very strong, giving the song it’s extra umph factor.

The lyrics are, essentially, about a break up; however, the type of relationship is left ambiguous. Is it the break up of a friendship? A romance? A creative bond? It’s left uncertain, although if I had to infer and give my best guess, it’d be a romantic relationship. A lyric in the second pre-chorus, “I’m never gonna make it to the end, I guess”, shows Casablancas grieving about a relationship that is on life support. This is then followed by the second chorus, where he sings about how this realization “struck me like a chord” and how this person “begged” him “not to leave”. On the last lines of the song’s bridge, he laments, “we lost this game/so many times before”. A relatable sentiment that may resonate with many.
Though, my one true criticism of the song is in its verses, which I feel are a bit too vague for its own good. Yes, the verses serve the purpose of chronicling the protagonist’s thoughts and how he’s processing the events taking place in the song. Yes, there are clues that hint at what it’s is about. Though, I don’t think they’re not as cohesive or telling as the chorus is of its narrative, but I think that’s, overall, fine. It’s forgiving when the music is interesting throughout and the lyrics are delivered with the necessary emotion to carry the track.

This new Strokes song is not bad at all. I think it’s a welcome change. I think it is the beginning of an interesting new era for the band and I look forward to hearing the whole album. Most of all, I think the Strokes are through sounding like they’re stuck in the 2000s. It sounds like they’re letting that era of the band die and I think that’s a good thing.

The Pairing:

I asked a friend of mine to tell me what the first thing that came to mind was when they heard the new Strokes song. They said ‘creamy’. I asked them to explain why, naturally, and they said “because it’s kind of slow and creamy… I don’t know, Julian” I imagine those were in reference to the fuzzy synths heard all over the song, but creamy, huh? Well, this song is supposed to be a break-up song and y’all know what’s creamy and pairs well after a break-up?

Ice cream! And from where? Well, I’ve mentioned Cream Parlor and I enjoy their ice cream quite a bit (especially the Purple Rain), but if you’re not willing to make that drive, there’s a place down South I can’t recommend enough. Enter Sweet Melody Ice Cream and their delicious Bo & Jo’s Guava Cream Cheese flavor. Generous amounts of guava filling are swirled in with a cream cheese ice cream base. Now every time I have a guava pastelito, I’m reminded of that ice cream. They’re located right next door to Strange Beast Brewery and Pizzeria on the intersection of 72nd Street and 157th Ave. It doesn’t get any more Kendall than that.

No, they don’t have an indoor space, but they have the world’s first Ice Cream Ventanita. That’s right. Ring the bell and you’re greeted by the owners on the other side of a sliding window who are happy and willing to take your order. They’re also the only creamery that pasteurizes their ice cream in-house. There isn’t an outside force at work they send their recipes to. Everything you stack on your waffle cone or pack into a pint is 100% local.

Break-ups suck and waiting forever for the Strokes to release new music sucks, but visiting Sweet Melody Ice Cream doesn’t suck. It ranks pretty high up there with some of the best ice cream I’ve ever had. If you’re going to try any flavor, try the Bo & Jo’s Guava Cream Cheese. You’d be doing yourself a disservice not to.