Albert Hammond Jr. made a glaring error with his latest release Como Te Llama?.
To be Spanish-correct, it should be called Como Te Llamas?. Unless he meant to call himself a pack animal. Which, if the songs therein are any indication, is hardly the truth.
As the main (we can say it) visionary of the Strokes, that other group Hammond plays guitar with, he established with his second solo release he left the pack long ago. Where his first release, Yours To Keep, was tentative in relishing his Strokes past (yet ultimately fulfilling), Como Te Llama has Hammond not worrying about it. He has created a perfect piece of guitar pop.
Are there Strokes flourishes? Of course. With his voice distorted, Hammond comes across Casablancas-like, accompanying “Bargain of the Century” and “G Up” with those traditional Strokes riffs. Are there Strokes-influenced flourishes? Sure. “GFC” and “The Boss Americana” are pure Brit pop (think Kinks), and really where would the Strokes be without that?
But then Hammond adds “Rocket” and “Victory at Monterey” to the mix, with grinding guitars and just enough of a disco beat (yes, disco!) to keep you tapping and intrigued. The only breakdown is “Spooky Couch”; a seven-minute instrumental that is about six minutes too long.
As track nine, it almost serves as the album’s intermission before “Borrowed Time” (a groovy tune that borrows heavily from Elvis Costello) kicks off the album’s tail end.
Does this bright piece of pop mean Hammond has left the Strokes behind? Perhaps, it’s been years since the New Yorkers had a new release. But if they ever return, they can only hope to create music as strong as this.
