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Comedown Machine

The Strokes

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Reseña de álbum

Arriving a relatively quick two years after Angles, Comedown Machine reunites the Strokes with producer Gus Oberg, but the results sound a lot less slick and overwrought. Instead, Oberg provides a clean, intimate sound that feels like a natural progression for the band, with a mix of chugging guitars and synths that feels more organic and less like blatant '80s worship (and also bears a striking similarity to Julian Casablancas' solo album Phrazes for the Young). Likewise, most of Angles' uneven but entertaining tangents are smoothed away, making it one of the Strokes' more consistent albums in some time. True to its name, however, Comedown Machine is also some of the band's most subdued music: there are fewer uptempo songs than might be expected, and even when their amps are cranked, the Strokes aren't exactly carefree. "All the Time"'s refrain of "You're livin' too fast" is a far cry from "Room on Fire"'s "Please don't slow me down if I'm going too fast," and on the album's most quintessential rocker, "50/50," Casablancas snarls "Don't judge me" over artfully mussed guitars in a way that feels more defensive than defiant. For most of Comedown Machine, the band uses some of its prettiest melodies — and some impressive falsetto vocals — to craft a vulnerable, quietly confrontational mood on songs like "Tap Out" and "Slow Animals," which has an almost soulful roundness to its melody as Casablancas wonders, "Is it gone?" They venture deeper into this softer territory on the album's title track, which rivals First Impressions of Earth's "Ask Me Anything" in its dreamy introspection, and on "Chances," which boasts soft-focus keyboards that flirt with chillwave. At times, the band's precise playing and Oberg's pristine production border on airless and only emphasize the fact that the Strokes left the reckless charm of Is This It behind years ago. However, their flair for hooks and melodies is as strong as ever, particularly on "Partners in Crime," "Welcome to Japan," and "One Way Trigger," which sets pre-life crisis laments to a perky keyboard riff reminiscent of a-ha's "Take on Me." The Strokes' most mature music yet, Comedown Machine is a solidly enjoyable album, even if it lacks some of the band's previous spark.

Reseñas de usuarios

The Strokes Is Back!!!

El disco es muy bueno, mas que su predecesor Angles, ahora si nos dejan con un buen sabor de boca, buenas canciones, algunas muy pegadizas, pero eso si, otras para el olvido.
Lo tienes que escuchar varias veces para agarrarle la onda, ya que las primeras veces no te convence del todo, y cada vez que lo escuches te iras encariñando mas con el y con sus canciones.
Me pareció muy bueno, en caso de que este sea su ultimo disco, puedo decir que salieron por la puerta grande :).

All the time!

Buena canción ojalá todo el álbum sea igual de bueno, larga vida a the strokes!

Comedown Machine me causa muchas dudas.

Sinceramente es el álbum que más he esperado en 2 años, One Way Trigger me suena muy bien, en mi opinión debió haber sido ese el primer sencillo en comparación con All The Time, sinceramente siento que este será el álbum que menos me agrade de la banda (por lo mismo de que el primer sencillo no es del todo llamativo), pero no por eso creo que será malo ya que admiro todos sus trabajos anteriores, pero mejor no crítico hasta haber escuchado el álbum por completo, puede incluso que termine siendo mi álbum favorito de los neoyorquinos, que por cierto son mi banda favorita.
Tengo muchas dudas sobre esta álbum, creo que será algo más experimental incluso que en Angles, espero no me decepcione, las dos canciones lanzadas hasta ahora no han sido decepcionantes, espero el contenido total sea mejor.

Biografía

Se formó en: 1998 en New York, NY

Género: Alternativa

Años de actividad: '90s, '00s, '10s

Equally inspired by classic tunesmiths like Buddy Holly and John Lennon and the street-smart attitude and angular riffs of fellow New Yorkers Television and the Velvet Underground, the Strokes were also equally blessed and cursed with an enormous amount of hype — particularly from the U.K. music press, whose adulation for the group rivaled their fervor for Oasis in the early '90s. Barely in their twenties by the time their debut album, Is This It, arrived in 2001, singer/songwriter Julian Casablancas,...
Biografía completa