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Ever wondered how The Strokes’ albums stack up against each other? I’ve been spinning their records since the early 2000s, and I’m here to rank them from the must-listen masterpieces to the lesser-known gems. Whether you’re a die-hard fan or just dipping your toes into their discography, you’ll want to see where your favorites land.
I’ll dive into each album’s highs and lows, from the raw energy of their debut to the polished tunes of their latest releases. Get ready to revisit the classics and maybe discover a new favorite as we explore the evolution of one of the most influential bands of the 21st century.
Is This It (2001)
Exploring The Strokes’ discography, you can’t help but linger on their groundbreaking debut, “Is This It.” Released in 2001, this album not only defined their sound but also left an indelible mark on the early 2000s rock scene. With its raw, unpolished garage rock vibe, “Is This It” resonated with listeners yearning for a revival of rock’n’roll.
The opening track, “Is This It,” instantly sets the tone with a bass line that grips you, while Julian Casablancas’ vocals exude a mix of apathy and yearning that became synonymous with the band’s image. Tracks like “The Modern Age” and “Someday” encapsulate the essence of youthful disillusionment, perfectly aligning with the attitudes of the era. It’s clear why this album consistently ranks at the top of best-of lists, from fans and critics alike.
Diving deeper, “Last Nite” remains an anthem that captures the spirit of rebellion, its catchy riff echoing the influence of similar artists such as Television and Iggy Pop. The Strokes carved their niche with a sound that also drew comparisons to The Velvet Underground, managing to stand apart while paying homage to their rock predecessors.
The importance of “Is This It” extends beyond just the music; its cover art, featuring a glove on a woman’s behind, sparked conversations about gender representation in rock. The album’s influence was far-reaching, setting a trend for stripped-down rock that dominated the early 21st century. As I reminisce about the countless hours I’ve spent with “Is This It” on repeat, it’s evident that The Strokes achieved something special with their debut. The synergy of its parts—the guitar hooks, the disaffected lyrics, the vigorous drumming—created a formula that would inspire a generation of rock bands.
Breaking down “Is This It,” one can’t help but wonder how a debut album could so accurately encapsulate the mood of a generation, offering a snapshot of rock that feels eternal. As their first foray into the music world, The Strokes didn’t just arrive—they broke through with a definitive assertion of style that continues to echo through the corridors of rock history.
Room on Fire (2003)
Following the seismic impact of “Is This It”, The Strokes faced the formidable challenge of a sophomore release. Their answer was “Room on Fire”, an album that managed to preserve the core elements of their debut while seamlessly introducing subtle shifts in sound and style. It debuted in October 2003 to high expectations.
“Room on Fire” continued the garage rock revival narrative The Strokes were spearheading. Tracks like “Reptilia” and “12:51” were laden with Julian Casablancas’s signature drawl and the band’s tight, angular guitar work. This album, while less groundbreaking than its predecessor, solidified The Strokes’ ability to craft catchy melodies underpinned with post-punk influences. The Voidz and Arctic Monkeys arguably owe a part of their sound to this era of The Strokes, highlighting the broader influence they’ve had on indie and alternative bands.
Fans and critics alike were divided; some praised the band for staying true to their sound, while others hoped for a bigger evolution. Personally, I found “Room on Fire” to be a testament to the band’s commitment to their musical identity in an industry that often demands constant reinvention.
The album’s production, handled again by Gordon Raphael, was slicker than their debut, enhancing the richness of the sound without sacrificing the raw energy that defined them. With tracks like “Under Control,” The Strokes ventured into more introspective territory, showcasing their growth as songwriters and their willingness to delve into themes of love and introspection, a slight pivot from the detached cool that permeated their earlier work.
Similar to other influential artists of the time, such as The White Stripes and Franz Ferdinand, “Room on Fire” was a bridge connecting early 2000s rock with the burgeoning indie scene. It was this bridging of musical styles, along with the band’s relentless charisma, that helped maintain their relevance despite the sky-high expectations set by their debut album.
As the midway point in The Strokes’ discography, “Room on Fire” is often remembered for its electric immediacy and as a snapshot of a band caught between their established sound and the ever-evolving landscape of rock music.
First Impressions of Earth (2006)
Diving into The Strokes’ third studio album, “First Impressions of Earth,” I’m immediately struck by their audacious attempt to evolve their sound. Released in 2006, this album marked a turning point for the band, balancing the act of maintaining their signature vibe with the exploration of uncharted territory. With 14 tracks, it’s their longest album to date, and arguably, their most polarizing among fans and critics alike.
The opening track, “You Only Live Once,” serves as a fitting initiation into the band’s more mature sound. It’s a declaration of their willingness to experiment while holding onto the urgent vocals of Julian Casablancas that fans have come to revere. Guitarists Nick Valensi and Albert Hammond Jr. deliver riffs that are both familiar and freshly invigorating, expanding on the sonic palette established in earlier works.
- Key tracks from the album include:
- “Juicebox,” known for its aggressive bass line and growling urgency.
- “Heart In a Cage,” where the melodic complexity shines through the raw distortion.
- “Ize of the World,” showcasing the band’s aptitude for sharp lyrics and dynamic composition.
Comparatively, “First Impressions of Earth” shows the band taking risks. Whereas bands like Interpol, Arctic Monkeys, and Franz Ferdinand rode alongside The Strokes on the wave of 2000s garage rock revival, this album veers off into more eclectic and sometimes darker themes. The production quality has a sheen of sophistication that wasn’t as apparent in “Room on Fire” but still keeps the grit that solidifies the identity of The Strokes.
This phase of their career highlights an essential growth spurt. They began to toy with the structure of their songs, deviating from the compact form that marked their early days. Casablancas’ voice takes on new tones, the lyrical content deepens, and the overall direction of the album feels like a band pushing at the edges of their own universe, stretching it out in every direction. It’s a turbulent yet enthralling evolution that further cements The Strokes as pivotal figures in modern rock.
Angles (2011)
After the exploration on “First Impressions of Earth,” I watched with keen interest as The Strokes ventured into their fourth studio album, “Angles,” released in 2011. The build-up to its release was filled with talk of creative conflicts, which led to a unique recording process where band members contributed their parts individually. Despite these challenges, they wove together an album reminiscent of their past work but infused with new wave and electronic influences.
“Angles” is an attempt to recapture the magic of their first two albums with a modern twist, and it symbolizes the band’s resilience. Tracks like “Under Cover of Darkness” and “Machu Picchu” stand as testament to their unfading knack for catchy melodies and sharp, incisive hooks. These songs remind me of the energy bands like Arctic Monkeys and Franz Ferdinand exude, who also found inspiration in The Strokes’ pioneering sound. Notably, “Taken for a Fool” and “Gratisfaction” evoke the band’s classic aesthetic while playing with unusual time signatures and layered arrangements.
One can’t help but notice the diverse musical styles that are seamlessly integrated throughout this record. There’s an occasional synth-pop sheen, particularly evident on tracks like “Games,” which hints at the band’s potential influences like The Cars or even the more contemporary Phoenix. Creatively, “Angles” is streaked with sonic coloration unfamiliar to the earlier palette of The Strokes, and yet it remains undeniably rooted in their foundational garage rock ethos.
The critical reception of “Angles” was mostly positive, with commentators often highlighting its varied nature and the return to the energetic sound that propelled The Strokes into the limelight. For fans and critics alike, it was clear this album served as a refreshing recalibration of the band’s identity. Despite any internal disagreements during its creation, the end product showcased their ability to evolve and maintain relevance in an ever-changing musical landscape. The Strokes’ continuous innovation is what keeps their long-standing fan base returning, eager for each new iteration of their distinct rock narrative.
In my journey through The Strokes’ discography, “Angles” stands as a pivotal point where they rediscover themselves, connecting the dots between their roots and the future paths they would explore.
Comedown Machine (2013)
Following “Angles,” The Strokes released their fifth studio album, “Comedown Machine,” in March 2013. Unlike its predecessor, which appeared to reach for the revived flavor of their early glory, “Comedown Machine” dove deeper into experimentation, layering 80s synthesis with lo-fi production.
I can’t help but notice the album’s leap into more unfamiliar territory, as the band’s inclination for risk-taking shined through tracks like “One Way Trigger.” The song laced Julian Casablancas’ falsetto with an unexpected jangle of synths and keyboards, an exploration further away from the gritty garage rock sound of their origins.
The feedback from fans and critics varied. While some praised the band for their adventurous soundscapes, others missed the quintessential Strokes rawness. The commercial reception of “Comedown Machine” was modest, as the album debuted at number 10 on the Billboard 200.
Similar artists who also embarked on evolutions of their sound around the same time include Arctic Monkeys, with their move towards a more complex and textural style in “AM,” and Kings of Leon, who polished their raw, garage-inspired sound into stadium rock anthems. However, it’s important to recognize The Strokes’ distinct approach in “Comedown Machine,” which stands apart even from those contemporaries.
Interestingly, The Strokes chose not to tour in support of the album, leading to speculation about the future of the band. But it was clear that “Comedown Machine” presented an introspective look into the band’s dynamics and individual artistry.
As I delve into the sonic layers of each track, the album’s subtle nods to their influences—from Lou Reed’s candid lyricism to the rhythmic hooks reminiscent of Talking Heads—become apparent. The Strokes continued to push their boundaries, proving their dexterity in integrating diverse musical nuances into a cohesive album experience. While “Comedown Machine” might not sit at the peak of their discography, it’s a pivotal chapter that highlights the band’s willingness to evolve and deflect simple categorization.
The New Abnormal (2020)
After years of anticipation, The Strokes returned with their sixth studio album, “The New Abnormal” in 2020, marking their first release in seven years. The album was a breath of fresh air for fans and critics alike, serving as a reminder of the band’s unique place in the rock landscape. This era saw the band navigating a delicate balance between their classic sound and new artistic directions.
“The New Abnormal” was met with critical acclaim, hailed for its intricate production and the matured songwriting of the band. Tracks like “The Adults Are Talking” and “Bad Decisions” showcased The Strokes‘ uncanny ability to craft catchy hooks while exploring deeper lyrical themes. Other tracks such as “At The Door” demonstrated a willingness to stray from conventional structures, embracing a more experimental approach.
Despite being one of the quieter bands of their era, not engaging as heavily in the media frenzy as contemporaries like Arctic Monkeys, The Killers, or Queens of the Stone Age, The Strokes managed to maintain a fervent fan base. Their influence on the modern rock scene is undeniable, and “The New Abnormal” proved that they still had the magic touch that inspired a generation of indie rockers.
Produced by Rick Rubin, the album won the Grammy Award for Best Rock Album, adding a prestigious accolade to The Strokes’ illustrious career. The sales figures underscored the album’s success, debuting at number 8 on the Billboard 200.
| Chart Performance | Position |
|---|---|
| Billboard 200 | 8 |
For dedicated fans, the release of “The New Abnormal” felt like a reunion with old friends. The band’s exploration and growth were evident throughout the album, which managed to honor their roots while reaching forward into new territories. The Strokes have never been a band to rest on their laurels, and this album was a testament to their continued evolution.
Conclusion
Ranking The Strokes’ albums has taken us on a journey through the band’s dynamic evolution. “The New Abnormal” stands as a testament to their enduring appeal and their knack for reinvention. It’s clear that their legacy in rock is as solid as the riffs they’re known for. Whether you’re a long-time fan or a newcomer, there’s no denying the impact of their music. Dive into their discography and you’ll find that each album has its own story, its own flavor, and its own place in the annals of rock history.