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But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection of chiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think of Room on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen. --John Mulvey
Well you'd be wrong. With 'Room On Fire' the New Yorkers, who look like one half of the cast of West Side Story, have delivered a fantastically rich and mature collection of songs that, if not wholly indicative of the band's future longevity just yet, does convince you that they are growing and advancing. They certainly do have the potential to become a classic rock band capable of evolving and moving away from the sugar coated simplicity of "Last Night" and "Soma".
"12:51", in itself a clever first single release, as it is the closest this album offers to 'Is This It' but the rest is a wholly more annoyed exercise. Casablancas delivers his sardonic tales of break-up and frustration with typical cockiness yet the emotion in his voice is clearer and certainly less palatable than the last album aside from the wonderful and overlooked "Trying Your Luck".
'Room On Fire' has more surprises musically as well as lyrically. The usual, 'made up in two minutes riffs', are ever present but there are more elements to catch you out on this occasion and sharp changes in tone lie around every bend.
"Automatic Stop" is a tortured tale of denial that you expect to cheer up but doesn't. "Between Love & Hate" is more of the same and exposes a rather uncomfortable side to Casablancas and his abject loneliness.
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