Don’t look a gift horse in the mouth. A penny saved is a penny earned. A bird in the hand is worth two in the bush.

While recording “Room On Fire,” The Strokes’ maxim of choice was: If it’s not broke, don’t fix it.

In keeping so, the group recorded one of the year’s finest albums.

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Facing unrealistic expectations following the 2001 classic “Is This It,” the New York quintet dodged the common sophomore slump by sticking to the formula that created a groundbreaking debut.

Singer Julian Casablancas picks up his distorted vocals right where he left them. A tad livelier this time around, his unique croon exudes his trademark confidence. He shows his growing range by occasionally switching to a falsetto during “Automatic Stop.”

“Room On Fire” is slightly heavier and more aggressive than its forefather. Dual guitarists Albert Hammond Jr. and Nick Valensi add thickness by tampering with increased distortion and lavish solos on tracks like “The Way It Is” and “The End Has No End.”

Possessing a sense of urgency that is borderline manic, songs such as “Reptilia” and “I Can’t Win” prove it is possible to be intense and still have fun.

In what has become the most anticipated follow-up record since Radiohead’s “Kid A” or Nirvana’s “In Utero,” The Strokes satisfy on every level. Where the aforementioned predecessors witnessed a letdown following their respective masterpieces, “Room On Fire” easily reaches the celebrated bar.

On the first single, “12:51,” Casablancas begs, “Talk to me/ Now I’m older.”

It appears The Strokes are just that, showing their growth and maturity by ignoring change and staying the same.

And that’s all right with me.