This week, I’ve been listening to The Strokes’ debut album “Is This It” from 2001. I kind of remember when this came out and I didn’t think much of it. In retrospect, I don’t know why I had no interest in The Strokes. Somewhere I must’ve picked up the wrong impression of them and wrote them off without actually hearing them. They are totally a type of band that I love and would’ve really been into in 2001 as well.
The very first day of my listening week, I pretty much fell in love immediately. Here’s a group of people the same age as me, their formative years took place during the grunge and britpop eras of the 90s. While certainly influenced by those styles, it’s clear that they particularly appreciate vintage New York City rock n roll. That’s stuff like The Velvet Underground, Television, and Patti Smith. The Strokes manage to be inspired by these greats while still producing their own sincere rock n roll without pastiche. Lead singer and principal songwriter Julian Casablancas told producer Gordon Raphael that he wanted his voice to sound “like your favorite blue jeans.” To me, this indicates that the Strokes romanticized the cool spirit 70s American rock rather than simply seeking to emulate their heroes. That makes all the difference.
The Modern Age
The second track “The Modern Age” opens with floor toms played on the downbeat and slightly-overdriven guitar giving quick syncopated chord strums on the up-beat. These are joined by bass that thrums on the tonic, and another guitar steadily beating out chords. This over-driven constant rhythmic accompaniment sounds somewhat like a dirtier Velvet Underground. The vocalist then sings the opening lines, up against the mic and in our face without reverb and dirtied up by a cheap amplifier and speaker.
While we can hear some natural room, the instruments on this album are notably dry. There’s not much, if any, additional reverb added. They’ve also mixed the drums in a more traditional rock way; that is the way drums were mixed before disco encouraged produces to bring the percussion to the front. Part of the joy of this album is that it frequently feels more like a great recording of a band rehearsing in the basement than a studio album. The band sound loose and authentic, like a band more concerned with playing than with getting a perfect take.
The lyrics are somewhat flippant nonsense with a quality of rock poetry. There’s a clear feeling and emotion that comes across in the words and delivery, but the specifics are vague even with the disjointed apparent details. The use of rhyme comes and goes where convenient, almost more for the attitude than a devotion to structure. The lines pull from the language of rock n roll and teenage New York sidewalks, not from books of poetry and literature. What’s more important is the emotion and attitude.
Oh, in the sun, sun having fun
It’s in my blood
I just can’t help it
Don’t want you here right now
Let me go, oh let me go
I believe that “Last Nite” was the Strokes’ biggest hit in the United States. It’s certainly the song I already knew before this week. I love it. It’s both knowing and adolescent, which so much great rock n roll can be.Like the above song, the lyrics hint at some mixed emotions, romanticized angst and indecisive confusion. But they also come across so vaguely affected that they can be nonsense that suits the sounds more than communicates anything specific.
The song opens with a single fuzzy electric guitar playing an octave chord at a continuous 1/8 note pattern. OK, so technically, we can’t call it a chord if it’s only two notes, and that’s probably especially true when they are the same note an octave apart. Eh well. The drums and two more electric overdriven guitars join in, the drums are dry and centered, the two guitars are panned hard left and right. The drums play a basic rock pattern, with a kick drum fill at the end of every second measure. The two new guitars play the same pattern, but this time adding a sus4, higher up on the neck. A bass then joins playing the same tonic note, then up to the third, and back to the tonic. This all adds up to a mechanically basic rock n roll sound, somewhere between the Velvet Underground and Stereolab.
When the vocals of the first verse, the two guitar panned to the left begins playing a riff that reminds me of something. It’s somewhat like the Bo Diddley, but I think it may actually be something else. I can’t place it. The guitar on the right, starts playing choppy syncopated chords. These two rhythms interact in a rather angular way with each other; This exciting interplay creates a unique stereo effect and strong movement. The bass provides some melodic movement to the accompaniment.
Julian’s energetically disinterested vocals maintain focus throughout the track. The melodies are pretty simple, but the rhythm and delivery more than provide interest. Again, they too are a little fuzzy, just pushing the equipment to the breaking point without getting into unpleasantness. They have a delightfully dirty gritty sound. With the lyrics, the rhymes are again present, but not in a literary poetic way. More as a casual product of the musical style:
Last night she said
Oh baby I feel so down
Oh it turn me off
When I feel left out
So I, I turned around
Oh maybe I don’t care no more
I know this for sure
I’m walking out that door