Newsflash to all the fans of The Strokes: Julian Casablancas is not the only member of The Strokes. He is merely the lead singer.
With the release of his much anticipated solo debut “Phrazes For The Young” on November 2, the music world held their breath to see what the lead singer of one of the biggest bands of the decade would create.
Many music review outlets, including “Pitchfork” (5.5/10), “Drowned In Sound” (3/10), and “Rolling Stone” (3/5), were disappointed by the debut. They felt Casablancas wasn’t edgy enough in his work, didn’t transfer his garage sound, and was too refined in “Phrazes.”
Well, this is a Julian Casablancas album, not The Strokes’ latest release.
“Phrazes” lacks Nik Valensi and Albert Hammond Jr.’s guitar licks that made The Strokes so famous, but replaces it with 1980s-era synth lines and world percussion that create a beat fit for dancing. Based on Casablancas’ reputation, dance tunes are not the first thing that come to mind at the mention of his name.
The downside of the album is the inability for the tracks to “get started.” The first 30 seconds of most tracks consist of awkward synth lines and seemingly directionless guitar. Casablancas’ voice adds to the awkwardness, as he cannot seem to find the time or place he wants to “jump in.”
However, once Casablancas and the music start moving, does not stopp. He sounds confident and comfortable.
The opener, “Out Of The Blue,” starts out sluggish. The mysterious synth line doesn’t correspond with the backing beats of the drums until Casablancas gets his vocals on track.
Then he settles into his groove and before the listener knows it, it’s almost like listening to The Strokes. This track, even with the slow start, actually ends up being one of the stronger tracks of the album.
The album stays consistent for the second track, “Left & Right In The Dark,” which again starts with a seemingly misguided synth line before settling down with echoing guitar chords and Casablancas’ low vocals. The climax is at the end of the chorus, when Casablancas shouts for a companion to “wake up” so he can move on with his life.
“11th Dimension” is the most memorable track on the album. Named “Best New Music” by Pitchfork, “11th Dimension” is what listeners will most remember from “Phrazes.” Starting with bassy percussion, a ridiculously distinguishable 80s synth line blares right into the listener’s ear. Casablancas’ voice and the rhythm are carried by subtle bass that keep the momentum of the song moving. This is easily the most enjoyable track on the album, and the synth line will definitely get stuck in the listener’s head.
Unfortunately, the rest of the album cannot live up to this precedent. “4 Chords Of The Apocalypse” is Casablancas lamenting about the end of a relationship and comparing it to the apocalypse. The concept is cliché even in theory. The song drags on, clocking in at 5:03. The same thing happens in “Ludlow St.” However, Casablancas redeems himself with the last three songs, “River of Brakelights,” “Glass,” and “Tourist.”
These last three songs have a dark urgency not felt earlier in the album. The bass and percussion become more noticeable, while a looping guitar is added, as opposed to the synth of the earlier songs.
“11th Dimension” is the shortest of the eight tracks, at 4:06, while “Ludlow St.” is the longest at 5:45.
This isn’t The Strokes. But if listeners go in with open minds, they’ll discover something unexpectedly enjoyable.
Daniel Gallen can be reached for comment at [email protected]