The Strokes
Biography
Equally inspired by classic tunesmiths like Buddy Holly and John Lennon as well as the attitude and angular riffs of fellow New Yorkers Television and the Velvet Underground, the Strokes were also equally blessed and cursed with an enormous amount of hype -- particularly from the U.K. music press, whose adulation for the group rivaled their fervor for Oasis in the early '90s. Barely in their twenties by the time their debut album, Is This It, arrived in 2001, singer/songwriter Julian Casablancas, guitarists Nick Valensi and Albert Hammond, Jr., bassist Nikolai Fraiture, and drummer Fabrizio Moretti's success wasn't quite of the overnight variety, but it still arrived pretty swiftly.
Casablancas (the son of Elite Model Agency Group kingpin John Casablancas), Moretti (who began playing drums at age five), and Valensi started playing together in 1998 while they attended the Dwight School, a private prep school in Manhattan. Soon thereafter they met Fraiture, who attended the Upper East Side's Lycee Français, and added him to their ranks. Hammond (the son of singer/songwriter Albert Hammond, whose songs include "It Never Rains in Southern California," "When I Need You," and "To All the Girls I've Loved Before") came from Los Angeles to attend film school at NYU and was invited into the band by Casablancas; the two met at L'Institut le Rosey in Switzerland when they were kids.
Casablancas officially christened the quintet the Strokes in 1999, and the group spent most of that year writing and rehearsing material in New York City's Music Building. They made their live debut that fall at the Spiral, and word of mouth about the Strokes' incendiary live show propelled them to gigs at venues like Under the Acme, Lower East Side clubs such as Arlene Grocery, Baby Jupiter, and Luna. The Strokes' December 2000 dates at the Mercury Lounge and the Bowery Ballroom not only gained them a manager (Ryan Gentles, who booked them at those clubs), but also helped Strokes mania reach critical mass in New York. Rough Trade released the group's three-song demo as The Modern Age EP in January 2001, which sparked a bidding war from which RCA emerged as the victors.
Meanwhile, the Strokes' acclaim reached the U.K. and grew to massive proportions over the course of the year. NME quickly became their champions, profiling them several times that spring and summer as the Strokes' live act and singles like Hard to Explain (which debuted at number 16 in the U.K. charts) won them a rabid British following. That spring, the band also completed its first U.S. tour as the opening act for the Doves and proceeded to play dates with Guided by Voices and ...And You Will Know Us by the Trail of Dead in the U.S. and the U.K. The group's popularity continued to snowball in the U.K., with a side-stage slot at the NME Carling Weekender changed to a main-stage performance for fear of people trampling each other to see the band.
In late summer of that year, Rough Trade released Is This It with an album cover featuring a sexy, Helmut Newton-esque photo of a woman's nude behind and hip with a leather-gloved hand resting on it; the U.K. chains Woolworth's and HMV objected to its controversial nature. The U.S. version of Is This It was released in October and featured a few changes from the U.K. edition. The Strokes opted for an abstract pattern on the cover and removed the song "New York City Cops," feeling the song was inappropriate in the wake of the terrorist attacks that struck New York prior to the album's release; the planned B-side, "When It Started," took its place. The group closed out the fall with an extended tour of the U.S., culminating with a Halloween gig at New York's Hammerstein Ballroom.
The remainder of 2001 and 2002 saw the group's profile continue to rise. Is This It and the Strokes were lauded in many ways, ranging from This Isn't It, an EP of instrumental versions of some of the album's songs performed by a mystery band called the Diff'rent Strokes (Pulp's Jarvis Cocker was rumored to be a member) to 2001 NME Carling Awards for Best New Act, Band of the Year, and Album of the Year. The band toured extensively throughout 2002, including a series of dates that summer in New York and Detroit with the White Stripes, summer festivals at Reading and Leeds, and a string of gigs supporting Weezer, some of which were canceled due to a leg injury Casablancas suffered. During these shows, their fall tour, and their dates opening for the Rolling Stones, the Strokes debuted some new songs, including "Meet Me in the Bathroom," "You Talk Way Too Much," and "The Way It Is."
By March 2003, the band was ready to start recording its new album, but instead of working with Is This It producer Gordon Raphael as previously reported, the Strokes began recording with Nigel Godrich of Radiohead and Beck fame. That May, however, the Strokes' sessions with Godrich came to an end, and they returned to Raphael to finish the album, Room on Fire. The single 12:51 introduced the more meticulous, new wave-inspired sound of Room on Fire, which arrived in fall 2003. Just before the album's release, the Strokes hit the road once again, taking Kings of Leon with them. Early in 2006, they returned with the even poppier and more polished First Impressions of Earth. ~ Heather Phares, All Music Guide
Selected Discography
They're planing on releasing an album in 2009. They're definitely due.
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Kyle dean kirk the 3rd is a douche. anyone who thinks the strokes suck must have either the Downs or some sort of reality bending mental disorder (like schizophreni a ) . The strokes are my favorite band of all time!
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f**k, out of every band i like their my 2nd fav they need to come out with a new album
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repillia is the only tolerable song, after i heard that song i explored their albumns - ultimate conclusion they suck.
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Very good, solid band. Room On Fire is a great album.
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f**k, the trokes are probobably the best s**t ive listen to their music is verry good my fav from them is "hard to explain".
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and you spelled "dissin" wrong being that it isn't a word idiot. Fool.
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Actually imdik1998, mccboogie and I were engaging in discussion, and came to a conclusion to agree to disagree. Do not pot usless information in boards-board s are for conversation about bands, light debate and a little fun. Don't promote non-sense
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Hard Core!! this stuff really revives old ramones abrasiveness and brings in alternative too
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old skool rock and roll with a twist of new age ^^ much love <3
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just post useless information on this board so we can get rid of mcailbreath' s ridiculous argument that music isn't about freedom or expression, but an ambiguous standard set by the musicians of the world... or by mcail but he decided to turn tail and leave this argument before anyone realizes how absurd it sounds. Communism is ----> that way. You won't find any freedom of expression there.
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"Last Nite" was on one of my very first mix CDs. Ahhhh, takes me back...
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i hate/love them!!!!!!!! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
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Too bad Pandora only keeps 9 pages of comments. Maybe someday they'll publish "Best of Pandora Comments".
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mccalebraith : Stop whining about the quality of music and do something about it. If you think art is based off of excellence, then show us.You're sitting here complaining about the Strokes when you could be practicing with your band and getting better.
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For all the other people, look back through the thread and take notes. That was called a "conversatio n " , a "discussion about music". Something Willow would know nothing of
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The Strokes are one of the best bands out there. Most music that's out there these days are nothing but s.h.i.t. PERIOD. I don't care if they're "punk" or "alternative " I just know that they make good music. Same for Artic Monkeys, Franz Ferdinand & a lot of UK bands like Bloc Party & The Postal Service.
That's my story & I'm sticking to it!!!!!!!!!! ! ! |
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So then that's where you and I come to disagree. If you want to eliminate 'artistic freedom' then it's a whole other discussion then are the Strokes a good band or not.I can't name any emo bands to make fun of-but enter insults to emo music here<--.What the "value of music should be based upon" is if I (or you, or him) like how it sounds.Out of curiosity what bands do you listen to that you would consider to abide by the standards you're hoping to establish? I feel like I'm reading a novel here
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(3) is emo rock.
Rather, the value of music should be based upon how well it measures up against a standard of artistic purity and excellence in musicianship . And this standard eliminates "artistic freedom" because art shouldn't be about expression or feelings, it should be about purity and excellence. I'm really going out on a limb with this one.. |
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Okay, we now get into artistic expressionis m versus artistic merit. The idea of aesthetic value has made art into feelings: if a given work of art (a painting, sculpture, performance, song, etc) evokes a feeling that someone finds valuable or pleasurable or noticeable then the art is deemed aestheticall y pleasing or successful (using general terms). I don't think music, or any art, should be about (1) release, (2) Pure pleasure, or (3) feelings
(1) is punk, (2) is like, Barry Manilow, and (3)is |
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