Uh oh, the Strokes' rhythm guitarist has made a solo album.  Strokes fans are bound to be nervous that this might mark the beginning of the end for the group, for there's been a track record in the past where key members of a musical group dabble in solo work and then whaddaya know, the band dissipates.  Look at Pete Townshend, look at Paul McCartney... you could even look at James Iha though it's not like he took his freedom and blew up the charts with it.  Hammond, who is one of two guitarists with the Strokes, is probably not in the same situation as those other guys since he hasn't exactly been with the band for 15+ years, but hey, I'm just throwing it out there. 

Regardless of where you might think this will all lead, the expectations of Hammond's debut album were likely that he was going to record ten or twelve tracks of b-side Strokes stuff to keep his main band's fans with him.  Nothing wrong with that, it's done all the time with side solo projects (with exceptions going to John Frusciante's eclectic discography and that Cobain/Burroughs incident).  Lucky for us Strokes fans, Hammond follows through with ten songs that can be described as lighter Strokes fare with a very recognizable guitar style. 

"Cartoon Music for Superheroes" begins the disc with a softer, lullaby sound that not only makes it very apparent that this is non-Strokes material, but it could also be unlistenable material.  Hammond tries to ease people into things by pouring a little too much saccharine into the opening number, but thankfully he keeps people from the Eject button of their cd players with the instant pick ups of "In Transit" and "Everyone Gets a Star."  The approach to these songs is *very* recognizable and if Julian Casablancas was singing the tunes could've easily made the next Strokes album.  But it's Hammond who sings, and even though he doesn't bring Casablancas' swagger he pulls off some likably medium-toned vocals nevertheless. 

Aside from the fantastic and upbeat "101," as well as the familiar-sounding "Holiday," most of the songs on the second half of the album are lower key efforts that Hammond likely wouldn't have been able to fit in on a Strokes album.  Nevertheless, Hammond does try to branch out a little bit from his usual style by throwing in a few extra instruments on some tunes, including an experiment with horns at the end of "Hard to Live in the City" that doesn't make the song conclude as something awful.  Overall the record feels very comfortable on the ears and though it took a few listens to get into, I found that Hammond has put together a very strong debut that is likely to attract Strokes fans and non-fans alike.