Strax by Strax: A Wild Ride Through Retro Vibes and Modern Beats
Alright, so let’s talk about Strax, the self-titled debut album from the band Strax. Released in 2017, this thing is like a musical passport stamped with Iceland, Sweden, and Italy. You’ve got labels like Skífan and RCA backing it, which already tells you they’re not messing around. The genres? Pop/Rock, straight-up Rock, some Pop vibes, and even a splash of Electronic. And when it comes to styles, we’re talking New Wave and Synth-pop—hello, 80s throwback! If you’re into catchy hooks, moody synths, and lyrics that make you think (or just nod along), this one’s worth your time.
Now, the tracklist is kinda wild—it’s got repeats like “Black And White” and “Keep It Up,” which honestly feels like they were just vibing too hard to care about duplicates. But hey, maybe that’s part of the charm? Two tracks really stuck with me though: “Affection” and “The Wind And The Rain.” Let me break it down for ya.
“Affection” hits different right off the bat. It’s got this dreamy synth line that sneaks up on you, paired with vocals that feel both intimate and distant at the same time. Like, you wanna lean in closer but also stay chill because it’s just that smooth. There’s something about how the melody builds—it doesn’t rush, it lets you sit with it. By the end, I was like, “Wait, what year is it again?” Feels like a love letter to those late-night drives where everything seems possible.
Then there’s “The Wind And The Rain,” which shows up twice on the album—yeah, no idea why either. But honestly? It works. This track has an edge to it, like someone took New Wave and gave it a caffeine boost. The beat’s driving, the guitars are sharp, and the chorus sticks in your head like gum on a shoe. Every time it came on, I found myself humming along without even realizing it. Plus, the lyrics are poetic enough to sound deep but vague enough to apply to whatever mood you’re in. Pretty genius if you ask me.
One thing I gotta say—this album doesn’t try too hard to reinvent the wheel. Instead, it takes bits and pieces of nostalgia and gives them a fresh coat of paint. Tracks like “Pago Pago” and “Modern Living” have these quirky little details that remind you how fun pop music can be when it’s not trying to be all serious or overproduced. Even the repeated songs don’t feel lazy; they add this weird sense of symmetry, like flipping through pages of a scrapbook.
So yeah, Strax isn’t perfect. Some parts drag a bit, and the whole duplicate track thing might annoy purists. But honestly? That’s part of its charm. It’s messy in a way that feels human, like the band was more focused on capturing moments than crafting some polished masterpiece. And honestly, sometimes that’s exactly what you need.
Here’s the kicker: listening to this album made me wonder if Strax knew their songs would end up being played in random places years later—like in a retro diner or during a montage in a low-budget indie film. Either way, I hope they’re out there somewhere still making music as unapologetically weird and cool as this. Peace out.
