Call It Fate, Call It Karma

"Call It Fate, Call It Karma" delves into themes of resignation, longing, and the complexities of a fading relationship. The lyrics convey a sense of confusion and a plea for understanding from a partner who seems to have moved on or figured things out. The song explores the ambiguity of whether life's events are predetermined (fate) or a result of one's actions (karma), reflecting a deep introspection about the nature of connections and their dissolution. The narrator expresses a vulnerable desire to remain in the other person's presence, even for a moment ("Can I stand in your light just for a while?"), highlighting a painful awareness of the growing distance between them. Ultimately, the repeated line "I needed someone" reveals the core of the song: a raw and universal expression of loneliness and the fundamental human need for connection. Some interpretations also suggest the song could be a metaphorical commentary on the band's internal state at the time, facing an uncertain future and reflecting on their shared history.

A scene is set with a request to leave a door slightly ajar, suggesting a hesitant departure or an unwillingness to completely sever a connection. This opening image establishes a mood of ambiguity and unresolved tension. There's a mutual lack of understanding between the narrator and another person, a shared confusion that permeates their interaction. Amidst this confusion, the narrator voices a desire to be reminded of something lost, a plea for clarity in a fog of uncertainty. This reveals a vulnerability and a dependence on the other person for grounding and memory.

The narrator then transitions to a public yet intimate space, the sidewalk, asking for permission to metaphorically occupy the other person's time and light. This poignant request highlights a feeling of inadequacy and a deep-seated yearning to be close to someone who seems to possess a certainty or glow that the narrator lacks. It's a humble, almost desperate, plea for a fleeting moment of connection and warmth. Following this is an admission of patient suffering; the narrator has been waiting, finding it painful to simply watch the other person. This long period of observation is filled with a silent agony, suggesting a deep emotional investment and unrequited feelings or an unspoken distance that has grown between them.

A recurring acknowledgment of the other person's self-possession—"You've got it down now, don't you?"—is paired with the narrator's own longing to comprehend them on a deeper level, to understand the story their face tells. This contrast underscores the perceived gap in their emotional states. The narrator feels lost and unknowing, while the other seems to have found their footing. The theme of memory and displacement is brought up again, noting that while some people hold on to the past, others lose their way. The song culminates in a raw, simple, and repeated confession: "I needed someone." This stark admission strips away all the preceding metaphors and hesitant questions, laying bare the fundamental human need for connection and support that drives the entire narrative. It's a final, powerful expression of loneliness and the deep-seated desire for companionship that underpins the narrator's contemplative state.

"Call It Fate, Call It Karma" is the closing track on The Strokes' fifth studio album, Comedown Machine, released on March 26, 2013. The album was recorded at Electric Lady Studios in New York City with producer Gus Oberg. Unlike their previous album, Angles, where singer Julian Casablancas recorded his vocals separately, Comedown Machine saw the band working together in the studio more collaboratively, reminiscent of their earlier recording processes. While Julian Casablancas is the primary songwriter for The Strokes, the collaborative environment of the Comedown Machine sessions likely influenced the final arrangement. The album was the band's final record under their contract with RCA Records, which led to speculation that its understated release—with no promotional tour, interviews, or TV appearances—was a deliberate choice to fulfill their obligation. The song's distinct, lo-fi, and melancholic sound stands in contrast to much of the band's discography and was seen by some as a quiet, uncertain farewell, reflecting the internal tensions and the end of an era for the band.

The song's rhyme and rhythm are deliberately understated, contributing to its free-flowing, melancholic, and conversational feel. The rhyme scheme is irregular and often relies on subtle assonance and consonance rather than perfect rhymes, which gives the lyrics a natural, prose-like quality. This avoidance of a strict structure enhances the sense of uncertainty and introspection in the narrative. The rhythm is slow and lethargic, with a tempo that feels like a languid stroll or a slow dance in an empty room. The musical rhythm is defined by a gentle, jazzy sway, guided by the simple bassline and soft percussion. The lyrical phrasing often floats over this steady pulse, with Casablancas's vocal delivery being fluid and slightly behind the beat, enhancing the song's dreamy and contemplative atmosphere. There's a distinct lack of the driving, post-punk energy typical of The Strokes, with the rhythm instead creating a sense of timelessness and resignation.

"Call It Fate, Call It Karma" is a significant stylistic departure for The Strokes, showcasing a blend of unique musical and literary techniques.

• Musical Techniques: The song is defined by its lo-fi production, creating a sound that feels aged and distant, as if played from an old vinyl record or a vintage radio. The instrumentation is sparse, featuring a simple, jazzy chord progression, a gentle bassline, and minimal percussion, which evokes the sound of lounge music from the 1940s. Julian Casablancas's vocal delivery is notably different from his usual style; he employs a soft, crooning, and ethereal tone, with a prominent falsetto in the chorus that adds to the song's dreamy and melancholic quality. The use of what sounds like an upright bass further enhances the track's vintage, jazzy feel.
• Literary Techniques: The lyrics are characterized by their simplicity and emotional directness. The narrative voice is vulnerable and introspective, using rhetorical questions ("So don't you wanna remind me?") to convey a sense of confusion and longing. The repetition of key phrases, such as "Can I waste all your time" and "I needed someone," functions as a mantra that emphasizes the narrator's persistent yearning and underlying loneliness. The song's title itself presents a philosophical dichotomy, inviting listeners to contemplate the forces that govern relationships and life events.

As the closing track on Comedown Machine, "Call It Fate, Call It Karma" holds a unique place in The Strokes' discography. While not a commercial single, it has become a significant fan favorite over time, admired for its stylistic bravery and emotional depth. The album itself received generally positive reviews, though its lack of promotion meant it didn't achieve the same chart success as their earlier work. Many fans and critics have interpreted the song as a poignant, almost funereal closing statement for the band's era with RCA Records, reflecting the internal tensions and uncertainty about their future at the time. Its distinct, jazzy, lo-fi sound has been compared to lounge music and has been noted as one of the band's most experimental tracks. The song gained renewed attention when the band performed it live for the first time in October 2021, a testament to its enduring cult status among their followers. Although not widely used in major films, its atmospheric quality has made it a popular choice for fan-made edits and video projects.

The song is rich with understated symbolism and metaphors that create its melancholic atmosphere.

• The Door: The opening line, "Close the door, Not all the way," serves as a central metaphor for the relationship's ambiguous state. It's neither fully open nor completely shut, symbolizing hesitation, unresolved feelings, and the unwillingness to let go completely, leaving a sliver of hope or a painful reminder of what's being lost.
• The Sidewalk: The line "Can I waste all your time here on the sidewalk?" places the narrator in a transient, public space, just outside the other person's life. The sidewalk symbolizes a liminal space, a place of waiting and observation, where the narrator feels like an outsider looking in.
• Standing in the Light: The plea, "Can I stand in your light just for a while?" uses light as a metaphor for the other person's presence, warmth, and perceived clarity or happiness. The narrator feels they are in darkness or shadow and yearns to bask in the glow of the other, seeking temporary comfort and connection.

The song's emotional weight is heavily built on the repetition of several key phrases and motifs that capture the narrator's state of mind.

• "So don't you wanna remind me / I don't know a thing": This recurring plea highlights the narrator's feeling of being lost and confused. It acts as a motif of memory and forgetting, suggesting a past that was once clear but has now become muddled, requiring the other person to provide clarity.
• "Can I waste all your time here on the sidewalk? / Can I stand in your light just for a while?": This couplet is repeated, serving as the central expression of the narrator's longing and sense of otherness. Its recurrence emphasizes the desperation and humility in the request to simply be near the person they admire.
• "I've waited around... Havin' a hard time watchin' you": This phrase conveys a sense of painful, passive endurance. Repeating this idea underscores the prolonged nature of the narrator's suffering and the difficulty of being a mere spectator to the life of someone they care about.
• "I needed someone": This simple, declarative line, repeated at the song's conclusion, is the most powerful recurring motif. It strips away all ambiguity and serves as the emotional thesis of the track, a raw admission of loneliness and the universal need for connection.