Listening Post: The Strokes - Albert Hammond Jr. - Como Te Llamo?

Albert Hammond Jr. - Como Te Llamo - 2008

Hammond's first non-Strokes record was a whimsical little foray into the lighter side of the sound of his day job band. And that made it fun to listen to. I was kind of hoping his next record would show a little growth, expand on the sounds he can make, broaden the picture.
Instead he seems to be saying on the second track, "In My Room", "Hey, you aren't gonna make another Strokes record? I will!".
Maybe that's what's up with the 4 missing people on the cover of the record...

The one thing that separated the first one from other Casablancas led records was the vocals. Sure, the sound was softer and more playful, but not now. Now Hammond has fuzzed up his voice, lazied up the nasal and channeled his band leader.
So, instead of sounding like a fresh take on sounds by a familiar artist, he just sounds like a Strokes wannabe band.
This works some of the time. "Lisa" is a nice and dark Indie-fuzz rock track. And "The Boss Americana" is fun in it's own, derivative way. The only singularly interesting moment comes deep into the record with the 7 minute delicate instrumental "Spooky Couch". But if the best you can say about the record is to sing the praise of the instrumental track, then you have a bigger problem. There's no new ideas on Como Te Llamo and the old ones are played out.

Como Te Llama reminds me of Thunder Express, the spin off band by the guitarist for the now defunct The Hellacopters. A diluted, second rate version of the first, which was a band that ran out of ideas and just stopped being.

Grade: C-
ASide: Bargain of a Century
BlindSide: Spooky Couch
DownSide: G Up

Listening Post: The Strokes - Albert Hammond Jr. - Yours To Keep

Albert Hammond, Jr. - Yours To Keep - 2006

The Strokes all took some time off after First Impression of Earth, most likely to deal with the realization that they had nothing really to say or add after Is This It.
First out of the gate? Guitarist Albert Hammond Jr.
His solo album opens with "Cartoon Music for Super Heroes" which sounds more like The Beach Boys run through Neutral Milk Hotel's taffy machine. And that's a blessing. Because immediately following, "In Transit" could have fallen off any Strokes record, albeit more reedy than Casablancas, Hammond doesn't stray too far from the proven formula. The addition of keys just give it a softer, more twee Indie feel, but the template is there. Terse 16th notes, bassline follow suit on the chorus, ambiguous melody. yeah, this is a Room on Fire cut. "Everyone Gets a Star" keeps things bright, sure, but there's no mistaking this record for anything but a sweeter version of a Strokes record. Actually, Hammond's upbeat texturing shows us that, in fact, The Strokes were really just Cake as influenced by The Velvet Underground.
There are moments, however, that show what Hammond could really be all about. That first cut and the middle track, "Blue Skies", an acoustic piece of Lennonilia and "Call an Ambulance" is a jaunty little bit. While "Back to the 101" sure sounds like it COULD be a Strokes song, the flourishes on the arrangement give it a lot of air and place to breath, making it one of the better tracks on the record. "Scared" is screaming to be part of the main band's coterie, but at this point they might have all been wondering if there would ever be another track. Either way, it's a sublime piece of new New Wave psychedelic Indie Rock.

I was hoping for more from this record, considering that a) Hammond comes from such strong songwriting lineage and b) why redo what's already been done so well on that groundbreaking first Strokes record? There are no surprises and really nothing egregious. The entire affair is pleasant enough. It's a bright and sweet record. it won't change your life and you won't find yourself reaching for it much, but it is easier on the ears than some of the Strokes stuff.

Grade: B+
ASide: Cartoon Music for Super Heroes, Scared
BlindSide: Blue Skies, Back to the 101