The Strokes – Reality Awaits: A grower that might be a classic, if you can stand the autotune

Twenty-five years ago the music world listened in awe as The Strokes released their debut album Is This It. Drawing influences from 70’s New York bands The Velvet Underground and Television the record was praised for its raw production, creating a collection of lo-fi, garage rock nuggets.

What has followed is a sporadic discography, partly due to internal conflicts and side projects, which has also resulted in long periods without touring. Despite only having a back catalogue of six albums before this new release it certainly feels like quality over quantity. 

Reality Awaits is The Strokes first album since 2020 and according to guitarist Albert Hammond Jr ‘it’s my favourite album we’ve ever done. It grows and grows and becomes intoxicatingly good.’ Hammond Jr might just be onto something here; it’s not the most accessible Strokes release but it’s certainly the most unique. 

Rather than sounding like a Strokes record, it plays more like Julian Casablancas’ other band, The Voidz. One particular element carried over, and an area that seems to divide fans is the constant use of AutoTune on Casablancas’ vocals. There is also a darker edge to this album as it flirts with goth rock melodies and deep and angry lyrics. 

Opener ‘Psycho Shit’ starts as a mellow, slow burning ballad with Casablancas’ brooding vocoder vocals complimenting the subtle drumming before an explosive finale. Lyrically there is clear references to the genocide in Gaza ‘You kill your prey from your nest, from behind a desk, psycho shit’. Casablancas has long been outspoken for his disdain at both the USA’s political stance on the war on Gaza and the Trump administration and there seems to be a dig at the president with the words ‘What’s your prize … to be kept around keeps you so proud, a teacher’s pet’. 

‘Dine N’Dash’ is possibly the most unhinged Strokes track to date, the synth intro is backed by a post-punk guitar groove and hi-hats. The melody gear changes throughout, and there’s even a bizarre spoken word monologue whereby Casablancas adopts an English accent. It works and it’s got enough character to be the standout track with hints of old Strokes classics intertwined with influences of The Cure and New Order. 

The most Strokes sounding track is ‘Lonely in the Future’, it’s an infectious three-minute earworm with the familiar jangly guitars and fuzzy bass creating a warming energy. Casablancas takes a pop at music critics and argues that art is subjective and shouldn’t be judged straight away. 

This is a fitting sentiment for this album and echoes Hammond Jr’s words on Reality Awaits being a grower. The first listen will probably leave the casual Strokes fans a little puzzled but from then on it’s an absolute classic, providing you can endure the AutoTune.  

Reality Awaits is out now, via RCA