The Strokes’ new album, “Comedown Machine,” inadvertently exemplifies one of the most important rules of life: Never follow excellence with mediocrity. This rule applies to most things. Though it appears these New York natives ignored this rule, and have fallen victim to the consequences. Producing an incredible debut album such as “Is This It” gave their fans boasting rights. Their albums since have lacked the same praise. The latest album is another letdown to devoted fans. It’s hard to appreciate a decent album when The Strokes are capable of so much more.

For all the mediocre tracks, there are a couple standouts

The first track, “Tap Out,” is appropriately named. Within the first 13 seconds, the listener is welcomed to a battle between garage rock and pop, which is just messy and distracting. Unfortunately, throughout the 3 minutes and 40 second song, neither sound taps out. Instead, the song ends in a musical disaster while an anomalous guitar solo destroys any credibility.

Despite the uncultivated first track, there is one song that will get America up and dancing. The song is “Welcome to Japan,” and what a warm, upbeat welcome it is. Though the sound is entirely different from their previous work, the mind is easily intrigued with lyrics such as, “Oh, welcome to Japan! Scuba-dancing! Touchdown!” All the while, the mash up of disco-funk rhythmically compels the listener with beautiful guitar riffs, creating a musical mix that will make you skip. That is, of course, if your skinny jeans allow you such flexibility. This track, while it doesn’t redeem their album, does redeem their artistry, showing they can think out of the box while still being the garage band we love.

Casablancas has lost his edge

While The Strokes play around with new sounds, they tactlessly bring forth disappointing vocals in the song, “One Way Trigger.” Combine that with a messy synth pop and guitar collaboration in the track “Happy Ending” and you may give up all hope. That is until you hear the track “All the Time.” The same oddly skinny, long-haired kings of rock, who we have been parading on our shirts since grade school, The Strokes, provide a glimmer of hope rather early in their subpar album. Track two “All the Time” gives the fan a big fat dose of what they have been asking for: Casablancas’ edgy vocals. In fact, this track screams The Strokes more than their fans currently do.

"Comedown Machine," the band’s fifth album, has left much to be desired, especially in comparison to previous works. Despite that, they will always hold a special place in our hearts. As indie rock icons, they gave us something to first pump about. In their better days they provided music and lyrics to our inner anarchist. And I believe that they can and will reach their full potential in albums to come.