Room On Fire
Room On Fire makes the small changes in the Strokes' sound worth following. The guitars keep their clearly divided roles, the songs stay brief, and Julian Casablancas still sounds as though very little bothers him. The production is fuller than on the debut. Within that familiar setting, rhythm and melody receive more attention without costing the band its direct way of playing.
"Reptilia" gets plenty from simple chords and a firm drumbeat. Its chorus gives the building tension a clear release. "12:51" takes a subtler approach, with guitars that almost resemble synthesizers and handclaps that help the tune move. The guitar figures follow the voice so closely that the song seems completely natural. There is more care in its structure than the first impression might suggest, though.
The loveliest change comes with "Under Control". The band slows down for a soul song, and Casablancas' rough voice becomes unusually vulnerable. It is a strong reason to look beyond the familiar singles. The reggae movement of "Automatic Stop" also shows that this lineup can offer more than fast guitar rock. These shifts remain small enough to belong with everything around them.
That careful finish has a downside. Some songs end so suddenly and hold their parts so firmly in place that little breathing room remains. The singing also stays within a limited range. The best songs make those problems feel smaller, however. Across 33 minutes, the band stays close to what works and tries enough new ideas to hold attention. Room On Fire is a successful refinement with a few surprisingly tender passages.
