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The first time strokes released an album in the midst of a local and national crisis that was on October 9, 2001. The release of their full album in the United States “Is This It” was postponed on September 11, and the band had struggled to release “New York City Police,” a charge of mocking the city police. , From a CD. (She stays on the vinyl.) New York is sad and stunned, but the strokes seem very symbolic of the strengths and magic of a city she loves that feels almost national.

When “Is This It” was released, I was twenty, and in the first semester, M.F.A. a program. I work as a trainee editor for a few days a week, spending most of my night drinking cheap beer and going out to see the band at the Mercury Lounge, a small rock club on the Lower East Side. I wore an old shirt that was smartly worn and destroyed by Chuck Taylors, and I never went anywhere without a Manhattan Portage messenger bag and a pair of big headphones. I was young, penniless, special, and unconscious. I think New York is the center of the right universe. Because of this, I was in a very perfect position to accept these blows as a kind of nihilistic gospel. Serve the band immediately and completely.

Musically, the strokes did not do anything very innovative, and the band’s critics eagerly demonstrated how easy it was to find precedents for the boring independent stone: Velvet Underground, Television, Stooges. But it’s been a long time since rock and roll sounded loud and boring. In the late 1990s, this type became angry and over-masculine. Teams like Staind, Creed, and System of a Down, all ranked first in 2001, led by people with a red face sang with an almost unexpected conviction. Julian Casablancas, the handsome and mysterious singer of strokes, has no comparison by comparison. He drank a lot – sometimes he leaned on the microphone stand to calm himself – and his eyes were soft and dark. “When we were young, man, did we enjoy?” Casablancas sang to “Someday”. Even at the age of twenty-two, he forgot.

Now, eighteen years later, when the city is once again trying to stabilize, it released “The New Abnormal” strokes, the band’s sixth album and first since 2013. The title scares the future – a practical summary of how daily life in New York has changed since the start of the year. This is a time of loneliness and fear, and nostalgia is a heavy and exciting force. The “new gay” looks better than anything else I heard this spring. This album was produced by Rick Rubin, whose style mostly included stripping songs of foreign elements or modlin, sound pressure, and volume level pumping. Robin can convert regular songs into bullets. Miniaturization and strengthening does not work for every artist, but this distillation makes strokes more severe and stronger. (This band wasn’t really liked because of its accuracy.)

Strokes first played “Bad Decisions”, a song from the debut album, in February, at a Bernie Sanders march in Durham, New Hampshire. (Several independent rock works, including Bon Iver and Vampire Weekend, have appeared in events to support Sanders’ campaign; one of the great pleasures before the epidemic is watching Sanders examine his notes carefully before shouting in the name of the artist.) “Decisions” contains all elements of the individual Strokes song, including a very familiar choir. (“Last Nite” by “This This It”, which features extensions based on “American American” by Tom Betty; “Bad Decisions” that resemble “Dancing With Myself” by Billy Idol) Even Idol and co-author, Tony James, love first Compliment with Songbook.) “I made a really bad decision / a very bad decision” Casablancas sang in the last song’s choir, then pulled “Yeeeaaahhh!” In a way the same part of celebration and despair seemed. He seemed to understand that the effects of bad judgment can be shallow and destructive, and that our worst behavior is often deliberate and premeditated. Sometimes we know we’re doing this stupid thing, but we still do it. Acknowledging the paradox helps neutralize shame.

Stroke music makes everything less dangerous. This may be the reason why it looks so good in an emergency. There is nothing so unbearable that it cannot be ignored. People come and go, relationships start to break down, things disappear, parties get boring – whatever. Casablancas songs briefly make one feel a little above everything, outdated in a dramatic and oblique way, rather than the usual way to get rid of them, ugly. Casablancas sang in “Reptilia”, a song from “Room on Fire”, follow-up to “Is This It”: “The room caught fire while fixing his hair.”

Casablanca is now forty-one, husband and father, but he is still disgusted by melodrama and showing emotions. Instead, she is a secret singer – often ending the tone with a little prosperity, allowing her voice to be full and beautiful, if only for a moment. He did this with astonishing effect on “At the Door”, a tense and tense song about the self-flagellation cycle. The verses show only the sound and mixing of Casablancas. He sings openly to accept what he gets:

I can’t avoid that you will never succeed out of this on time I think that’s good.

For most twenties, it appears that a stroke may be taking notes completely. In interviews, band members are often smart about their personal dynamics, although it is still widely understood that in their first three releases (“A Room on Fire” followed by “First Impressions on Earth” in 2006) Casablancas acts as a kind of The default creative director, write all lyrics and most music. When his colleagues suggested Casablancas (guitarist Albert Hammond, Jr., Nick Valenci, guitarist Nikolai Freight, and drummer Fabrizio Moretti) that Casablancas contemplated a more collaborative approach to work, he complied – but some felt that he had done so. And also the deep bitterness. The “fourth” recording of the squad is full. Casablancas should be absent from most of the session, with parts being recorded alone. Valence then told Pitchfork: “This is terrible – just terrible.” The band chose not to tour, interview, or appear to promote the upcoming, unstable and decentralized “Comedown Machine” from 2013.

Meanwhile, Casablancas stopped drinking, moved to the north, and started a new squad, Voidz. He started writing different types of songs. “Human Sadness”, the eleven-minute twisted frenzy of Voyds’ “Tyranny” album, seems to be talking about some long-running avant-garde aspirations. (Casablancas singing is largely incomprehensible, and solo guitar play continues for a whole minute.) If “Is This It” is similar to “Loaded”, Velvet Underground, “Tyranny” is “Metal Machine Music” from Casablancas – very strange hostile , And it is clearly noncommercial.

It is interesting to ask whether strokes will attract listeners born in the years following the “Is This It” – young men in slaves, perhaps, for some who have been inspired by Strok (Arctic Monkeys, Ty Segall) but not necessarily a difference. “I’m not afraid / I just don’t care / I don’t listen, hear me?” Casablancas sings, in “Altruism”. The sensation he described – a kind of deliberate abandonment of goals – is familiar to any elderly person in the 1990s, but this kind of indifference is largely a Z-generation curse. Is the idea that life so embarrassing that teenagers cannot be taken seriously? Who spend their free time screaming brazenly in climate protests? They have struggled to polish and perpetuate the grammar of universal language, as no one is forced to feel insufficient, but it is a pleasure to hear strokes in a feeling as if you have reached an exclusive place, where the harm is not enough to include.

But Casablancas is not apolitical. He has often and eloquently talked about his lack of confidence in the capitalist system, although it is a product of them. (His father, John Kasablancas, was the founder of the typical elite of management, and his mother was the former Miss Denmark, and he grew up in several boarding schools and private schools.) On his appearance in 2018 in “Late Show with James Corden”, Kasablancas was wearing a military military cargo jacket. When Corden bravely tried to fill his bag with orange slices, Casablanca issued a warning: “We are in an invisible war, my friend. We must be ready.” There may be an emotional critical point where a lot of attention begins to seem like it does not matter at all. Strokes may be better known than other teams. ♦

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