Posts Tagged ‘The Strokes’

A seven-year reflection period with time for other musical projects has not given The Strokes any wind. In early April, the New York-based cult band released their new record. Each new album was invariably compared to their iconic debut album Is This It and then concluded ‘that it wasn’t like it was in their early days’. But let’s leave that out for a second at The New Abnormal. On the record, fresh synths are regularly given way and we hear Julian Casablancas sing like never before. “Brooklyn Bridge To Chorus” and opener “The Adults Are Talking” embody the new path the band is taking. Fortunately, the rattling guitars are not completely discarded and sound a lot more inspired than on their previous musical throws. Renewing without denying their roots, The Strokes did quite well on The New Abnormal.

The Strokes playing a slow-motion, dramatically heated game of baseball against a team of Terminator-like robots — possibly for the fate of the free world, possibly just as a Beer League scrimmage? Sure, why not: Like every other successful move The Strokes have made in their middle age as a band, the “Adults Are Talking” video follows its own logic and just goes for it, making sense sheerly through the group’s singular brand of try-not-that-hard self-confidence. Patterning their uniforms after the Houston Astros instead of their (maybe?) beloved Mets is one decision they’re gonna have to answer for back home, though.

The Strokes ‘The New Abnormal’ Available Now

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It’s 2020 and The Strokes are good again. Even Howard Ratner wouldn’t have taken that bet.

People asked for a new The Strokes record – and get a retro overdose. For the video of “Fast Times” guitarist Albert Hammond Jr. unpacks the old VHS recorder, lets some choppers roar over the Sunset Boulevard of Los Angeles and gambles all his money at the Pacman machine in the disco. The guitars don’t care. They sound like they did at the awesome festival gig of 2005 anyway. If there’s anything from The Strokes next year, we’ve warned you.

The ’80s bands, where did they go?” frontman Julian Casablancas ponders in “Brooklyn Bridge to Chorus,” a retro-tinged (and arguably at least slightly sarcastic) yearning for the good old days that spans throughout The Strokes’ first album in seven years. With a title like The New Abnormal feeling more relevant than usual given the global pandemic, nostalgia for a simpler time is higher than ever — and almost 20 years since their debut album, which arrived in the United States just weeks after 9/11, the NYC band’s signature melodies always strike the right chord, while Casablancas’ breezy falsetto still proves to be a much-needed exhale amid dark times

The Strokes ‘The New Abnormal’ Available 4.10.20

“The New Abnormal” is the long awaited new album from The Strokes, and the band’s first album in seven years. “The New Abnormal” is The Strokes’ sixth studio album and was recorded at Shangri-La Studios in Malibu, California, with legendary producer Rick Rubin . The New Abnormal is a long awaited new album release from The Strokes,. The album’s cover artwork is a painting called ‘Bird on Money,’ by famed artist Jean-Michel Basquiat. The album sees the Strokes roll back the years with an album of lo-fi intimate nuggets full of melodies that mark the Strokes at their best.

It’s been 19 years since their seminal debut ‘Is This It’, and with album number six, ‘The New Abnormal’, they’re still five of the slickest white men in guitar music – but now they’re older and wiser, and that’s not necessarily a bad thing. “I am having a selfishly good time,” Casablancas admitted at that gig, before double-checking: “But are you also having a good time?”

The answer, applied to ‘The New Abnormal’, is an easy yes, as while the album explores a few new directions, it’s still often fairly recognisable. The best stuff sounds familiar – few people ever have, or ever will, write a better riff than that of ‘Last Nite’ – and the worst, only peppered in small amounts, feels beyond experimental, as if pointedly ignoring what everyone else in indie rock is doing to stay fresh nowadays. Instead Julian and co. often settle into an afterlife of cantankerous synths only belonging to The Strokes.

The Strokes have now officially announced their new album. It’s called The New Abnormal, it was produced by Rick Rubin, and following the 2016 release of their Future Present Past EP on Julian Casablancas’ own Cult Records — it comes out April 10th via their longtime major label RCA. The album artwork (above) is a Basquiat, and the first single is “At the Door,” which is on the atmospheric side but singing-and-songwriting-wise sounds like classic Julian Casablancas. Not a bad first taste.

The Strokes also played a Bernie Sanders rally in New Hampshire last night and they debuted new songs during their set and covered the Talking Heads’ “Burning Down the House.”

he Strokes have shared a second single off their upcoming first album in seven years, The New Abnormal (due 4/10 via RCA). It’s called “Bad Decisions,” and it kinda sounds like the middle ground between “I Melt With You,” “Dancing With Myself,” and Is This It-era Strokes. The metronomic, guitar-led ‘Bad Decisions’ and ‘Why Are Sundays So Depressing’ – are sandwiched between more jarring offerings.

Take ‘Brooklyn Bridge to Chorus’ and ‘At The Door’. The former is a disco-synth bop with lively vocals and decidedly self-determining lyrics (“I want another day/I want another break/I want another start”). It’s not about what fans crave any more; these words may move you, but were ultimately written for the person who first sang them. The latter, drum-less celestial number, was the record’s first single, announcing a stark change of pace for the band. It now stands as one of the strongest tracks due to its commitment to the new mood, and some of the most contemplative lyrics. “Use me like an oar / And get yourself to shore’, Casablancas sings to someone we will never know.

The Strokes have always kept their feelings at arm’s length, but there are traces of deeper introspection on The New Abnormal’. There’s striking cinematic beauty to ‘Selfless’ and ‘Not The Same Anymore’.

‘Selfless’ plays like a daydream, opening with a waltzing guitar, and there’s plain but piercing romance in Casablancas’ lyrics. “Please don’t be long/I want you now” he sings over a wailing refrain that confirms The Strokes remain some of the best riff-makers around. Casablancas’ vocals are diamond-sharp on ‘Not The Same Anymore’, as he captures the inevitably of ageing, proving he’s still underestimated as a lyricist. “Now the door slams shut/The child prisoner grows up” comes the haunting confessional.

But Casablancas can’t be kept away from his beloved ‘80s synths for too long. This is more convincing electronica than most of 2013’s ‘Comedown Machine’ offered, but still weaker than the three-for-three hit-making albums ‘Is This It’, ‘Room on Fire’ and ‘First Impressions of Earth’. ‘Eternal Summer’ is as close as this album comes to a misfire. It’s a poppy, seasonal ode with a brain-melting falsetto, a tinny chorus and workmanlike lyrics such as “summer is coming / it’s here to stay”, which would be fine they weren’t delivered quite so earnestly. It bears the messy energy of the guy nobody knows in the crowd at a festival, who caught sunstroke and let his one canned cider go to his head.

The Strokes‘ first album in seven years, the third single is here. It’s called “Brooklyn Bridge To Chorus,” and it’s a dose of glittery, disco-y new wave, but done in an unmistakably Strokes way.

The one Strokes album that feels decidedly absent is 2011’s ‘Angles’, which surprisingly triumphed with its psychedelic influences and existential lyrics – one of the few times the Strokes successfully committed to something entirely new. The tracks that bookend ‘The New Abnormal’ were first teased at live shows over the past year. The opening seconds of ‘The Adults Are Talking’ might scare people off with abrasive electronic drum samples, until Casablancas comes in with a mellow vocal. As it develops, it’s unmistakably top-tier stuff. The analogue beats of ‘Ode to the Mets’ promise to close the album in similar fashion, before the song blooms into a slow-burn ballad, the central riff sounding as if put through a wind machine.

There’s plenty to praise on the record, even though the listener has been certified as a second thought. Like its cover, the Jean-Michel Basquiat artwork ‘Bird On Money’, it’s spiky but quite stunning. This is a cool album. The Strokes ‘The New Abnormal’ Available 10th April 2020.

The strokes album artwork

The Strokes  will release their first new album in seven years on April 10th, “The New Abnormal” (Cult/RCA), and the latest preview of the record arrived this week in the form of the track “Bad Decisions,” a slick rocker built around an anthemic, New Order-esque guitar riff. The retro infomercial-style “Bad Decisions” video, directed by Andrew Donoho, sends The Strokes back to the ‘70s scene Julian Casablancas’ lyrics set (“Dropped down the lights, I’m sitting with you / Moscow 1972”), imagining a world in which anyone can order their own cloned iteration of the band, customizing The Strokes’ looks and personalities to fit their exact specifications.

The New Abnormal is the long awaited new album from The Strokes, and the band’s first album in seven years. The New Abnormal is The Strokes’ sixth studio album and was recorded at Shangri-La Studios in Malibu, California, with producer Rick Rubin.

The album’s cover artwork is a painting called ‘Bird on Money,’ by famed artist Jean-Michel Basquiat. The Strokes are singer Julian Casablancas, guitarists Nick Valensi and Albert Hammond Jr, bassist Nikolai Fraiture and drummer Fabrizio Moretti.

Julian Casablancas was partly inspired to write his new Voidz single, “Did My Best,” by Algerian street vendors in Paris — specifically the Auto-Tuned Arabic music they listened to while “selling tourist crap. That seeped into my subconscious,” .

When he acquired an Auto-Tune pedal, his imagination took off. “In Indian music and Middle Eastern music, they use more notes [than in Western music],” he says. “But the truth is, those notes are secretly in Western music. … When you do a melody with Auto-Tune, it’s almost a different melody. Ten percent of the melodies jump off to a new level with Auto-Tune. It’s a whole other level of harmony.”

Auto-Tune colors the end of the song, where Casablancas repeats the phrase, “I can only change what I can change,” and features heavily on “The Eternal Tao,” released in May of this year. That song and “Did My Best” appear in a new video from the Voidz , which features the band having a party with a bunch of sex dolls. Mac DeMarco and Kirin J Callinan also appear in the video; DeMarco engineered both songs, while Callinan “dream weaved,” Casablancas says.

“I started the way I start most things, with a vague, blurry end vision in mind,” he says of the video. “It’s like one of those videos people make at parties. It’s like, ‘What is this world? Who are these people?’ It was [a] simple, dumb idea that could have been 10 seconds long, but I decided to [do that and add] robots.” The video was directed by Johann Rashid (Promiseland), with animation by Benjamin Portas.

Despite the Auto-Tune, “Did My Best” sounds more like a traditional Casablancas track and is, in part, about the singer’s disdain for nostalgia. “Some people might hear the political stuff, some people might hear the ‘hanging out in a bar’ stuff, some people might hear the philosophical stuff,” he says. “That song is about nostalgia and not giving a shit about it personally, but that’s only one of many topics in the song.”

“Eternal Tao” was inspired by Tao Te Ching — and it’s much more out-there than “Did My Best.” “That book is insane,” Casablancas says. “It seems like the ancient wisdoms of the old world, the top minds, got together and wrote this universal truths thing. It has so much in it and it’s so amazing. That took over my life for a second.”

With his trusty pedal in tow, the singer says he has more than 50 songs in the can. He’s not sure how the band will release them, but says they’ll likely come out as singles. “I think we’re just going to put out songs here and there. Does it matter, this day and age?” he says.

As for the Strokes, he says the band is similarly in limbo — and that there’s no plans for new music. “If you ask me in a week, the answer might be different. Right now not, but it could change at any moment,” he says. The Strokes are currently set to play a slew of dates, including a New Year’s show in New York, 2020’s Shaky Knees Festival, and several iterations of Lollapalooza overseas. Their last album was 2013’s Comedown Machine, while Voidz dropped their more recent album, Virtue, in 2018. Casablancas’ Strokes bandmates Albert Hammond Jr. and Fabrizio Moretti also recently put out new music; Hammond Jr.’s Francis Trouble dropped in 2018 and Moretti’s Conduit came out this week under the name Machinegum.

In 1998, five New York friends — Julian Casablancas, Albert Hammond Jr., Fabrizio Moretti, Nick Valensi, and Nikolai Fraiture — formed a band called the Strokes. They released a debut album, Is This It , in 2001. In 2009, Music magazine NME named it Album of the Decade; Rolling Stone Magazine ranked it No. 2, behind Radiohead’s Kid A. This is an account of what happened in between, starting in 2002.

Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it–including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend–and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

read this excerpt:

Ryan Adams (musician): One night I was hanging with the Strokes guys and Ryan [Gentles, the band’s manager]. We were really stoned because we were basically always smoking pot. It was very late. Fab would always play me a song that he had written, some beautiful, romantic song. So one night, jokingly, I’m almost certain, Fabby said, “Dude, what if John Mayer was playing that guitar right now?” And I said, “I can make that happen.” Now, I lived down the block from John Mayer, and he’d been talking to me about his new song for a while. So I texted him, because he was always up late back then. I said, “Come to this apartment. Bring an acoustic guitar. I really want to hear your new song.” I didn’t tell them that I’d done it. So everyone is sitting there and I was like, “Let’s all take bong hits.” I really wanted it to get crazy. We smoked some bong hits; I probably did some blow. The doorbell buzzer rings, and I open the door, and John Mayer walks in with his fucking acoustic guitar, and they were all slack-jawed. John sat down and played the fucking acoustic guitar — three or four songs that probably have gone on to be huge — while those guys just sat there staring at me like, Oh my God, you’re a witch.

Gideon Yago (journalist): Ryan Adams, he was one of those guys where I just remember being like, I just don’t know. I didn’t take to him very well. I mean, that to me was the beginning of the end.

Albert Hammond Jr. (guitarist, the Strokes): When he shows you a song, he doesn’t stop for hours. You’re like, “Oh, that reminds me of a song I wrote.” And you play a G chord and he’s like, “I know what you’re talking about,” and he grabs the guitar back. There’s no way to play music with him. It’s the Ryan show, always.

Ryan Gentles (manager, the Strokes): I introduced Jim Barber and Ryan Adams. Courtney [Love] was dating Jim at the time.

James Barber (former A&R executive): Courtney thought the Strokes were a positive cultural influence. She was doing this MTV special. She wanted them on.

Marc Spitz (journalist): She was like their Yoda. Their coke Yoda. I’m not saying she gave them cocaine. I mean, most everyone was on cocaine, but it seemed like as soon as they really made it, she was all over them. And she was not in the best shape at the time. Maybe not the Jedi you want whispering in your ear about how to be a rock star.


Ryan Gentles: I was friends with Courtney; she would call me at random hours to give me advice. Then she did this overnight-broadcast thing for MTV.

Marc Spitz: It was called 24 Hours Of Love, and the premise was that she would take over the MTV soundstage, the one in Times Square, for 24 hours.

Albert Hammond Jr.: When you’re fucked up and the idea is funny, you just do it. You’re like, Oh, yeah. We’ll go up there and hang out with Courtney Love. By the time you’re in a taxi and you’re in traffic, you’re like, Wait, what are we doing here?

Ryan Gentles: She was all strung out and drunk; it was almost embarrassing. She was running up and down the hallways naked.

Albert Hammond Jr.: Oh, she was fucked up.

Ryan Gentles: I actually adore her in a way. She’s so smart. But I don’t know her. I don’t think anybody knows her.

Jenny Eliscu (journalist): Gentles briefly managed Ryan Adams during that era, which seemed to not go great.

Ryan Gentles: Ryan and I were buds. And went down to New Orleans and madeLove Is Hell. Then I had to quit, because the Strokes exercised a clause in their contract that said I wasn’t allowed to manage other artists.

Albert Hammond Jr.: Julian had a very clear thing, and we liked to do things a certain way. I think a lot of things they blame Ryan for is stuff the band just doesn’t want to do. Image

Ryan Gentles: Do you know how many times I begged the Strokes to do some shit and they just said no and it was idiotic and everyone in the world knows they should do it?

Amanda De Cadenet (photographer): They’re the band that turned down a million dollars for some Heineken ad. That’s dumb.

Dave Gottlieb (former VP of marketing, RCA): We got a request from Heineken for … it was either “Hard to Explain” or “Last Nite.” I think it was “Last Nite.” It was $600,000.

Ryan Gentles: When they were making Room On Fire they said they felt my attention wasn’t all theirs. They said, “You have to stop managing Ryan Adams.” It sucked. He’s super-talented, and I was ambitious, and I liked his music a lot, and I still do. How did he take it? Real bad.

Catherine Pierce (musician): Julian thought Ryan [Adams] was a bad influence on Albert.

Albert Hammond Jr.: Ryan would always come and wake me at two in the morning and have drugs, so I’d just do the drugs and kind of numb out. I knew I would shoot up drugs from a very young age. I’d been wanting to do heroin since I was 14 years old.

Catherine Pierce: [Albert] used to say, “I love drugs. I’m not an addict, I love drugs!”

Albert Hammond Jr.: In that Room on Fire time, I definitely got into a lot of pills and the beginning of opiates. That OxyContin kind of thing.

Catherine Pierce: Albert and Julian really loved each other and were kind of dependent on each other. Julian’s acceptance was really important to Albert, and I think Albert’s opinion was really important to Julian.

Albert Hammond Jr.: When Julian and I stopped living together, that’s kind of when it changed.

Catherine Pierce: It was such a weird time, because everybody was simultaneously psyched about “Oh, we’re all becoming famous, this is awesome, let’s all hang out.” But it was also like, “Wait, Ryan’s a bad influence.”

Albert Hammond Jr.: I remember Julian threatening to beat Ryan [Adams] up if he hung out with me, as a protective thing. He’d heard that Ryan would come and give me heroin, so he was just like, “If you come to my apartment again with heroin, I’m going to kick your ass.” I hadn’t really been doing it in baggie form until Ryan showed up. He was definitely a bad influence.

Ryan Adams: That’s so sad, because Albert and I were friends. If anything, I really felt like I had an eye on him in a way that they never did. I was around and we actually spent time together. He would show me his songs. It was like, “No one ever listens to my music, but do you want to hear it?” I would be like, “Fuck yeah!” I loved him so deeply. I would never ever have given him a bag of heroin. I remember being incredibly worried about him, even after I continued to do speedballs.

Is This It

Julian Casablancas (front man, the Strokes): Did I specifically tell Ryan to stay away from Albert? I can’t remember the details, to be honest. I think heroin just kind of crosses a line. It can take a person’s soul away. So it’s like if someone is trying to give your friend a lobotomy — you’re gonna step in.

Ryan Adams: I didn’t do drugs socially, and I don’t remember doing drugs with Albert ever. I wanted to smoke cigarettes and drink, like, dark red wine or vodka and write all night.

Albert Hammond Jr.: For me, the drug stuff was a release. I don’t know how to explain it. Success depressed me.

Ryan Adams: It was very dramatic, the way it all went down. I was asked to meet one single person in a bar and I got there and it was the whole band and Ryan. I was more or less given a lecture, a hypocritical lecture, and then they told me that I was not going to be part of their scene anymore. It was very weird. It was easy to brand me as the problem. I would suspect that they soon learned that I was not the problem.

Andy Greenwald (journalist): One thing about the 2000s is that everything happened too fast. The time that passed between Nirvana and Candlebox probably was two or three years. The time between the Strokes and Longwave was like 18 months. And there were diminishing returns. The Strokes weren’t really that big. Everyone needed them to be that big and desperately wanted them to be big, but they kind of weren’t.

Brian Long (former A&R executive): Bands like the Strokes, they sucked on the proverbial major-label tit, drank the last gulp of milk that was there. They were the handoff from one era to another era. I remember when their second record came out, we really liked them and were championing them, but we were all wondering if they could develop in a way that would make an interesting career. The analogy we used to make was, will they end up making a London Calling? Could they be that? Or is it going to be just cutting different colors from the same swath of fabric? And that’s kind of what’s happened.

Dave Gottlieb: Room on Fire is as good as Is This It; the problem was the band did not sell it. You’d ask, “What’s your vision? What are your goals?” They didn’t really have an answer.

Jim Merlis (publicist, the Strokes): When the reviews started coming in, they all said that it sounds exactly like the first record.

Albert Hammond Jr.: With Room on Fire [2003], people were giving us shit because they said we were sounding too much the same. With the third album, we were getting shit that we don’t sound like Room on Fire. We got fucked by the same thing twice!

Moby (musician): The Strokes were the first band of that era that went beyond just being PR darlings, and suddenly people were buying the records. It’s interesting, in their case, because they never sold that many records, but they made really good records. The reach, the awareness of them was so much greater than the record sales.

Dean Wareham (front man, Luna): It’s hard to make something perfect. They made a perfect record, and that’s hard to do again.

Jenny Eliscu: It’s important to zoom out and look at what happens when a genuinely so-fucking-good-it’s-insane band happens — it’s always disappointing on the commercial scale. The Stooges were never a commercial success. And yeah, the internet culture of today accelerates the pace at which you’re looking for the next example of the thing, and we get bored with the thing, because everyone knew about it so quickly and disseminated it so quickly. Hipsters get over shit so quickly. But it’s important to state that there’s a difference between the underground and hipsters. The underground is real and permanent. It’s more art than it is commerce. The Killers … and Kings of Leon were never part of the underground. Fuck no.

Nick Valensi (guitarist, the Strokes): We had conversations that went along the lines of “Gosh, I think our songs are better than ‘Mr. Brightside’ by the Killers, but how come that’s the one everyone is listening to? They did it a different way. They recorded it in a different way. They promoted it in a different way. We could be that big.”

Jim Merlis: There was bad stuff going on with the band — a lot of fighting, arguing, and the shows were bad. They were really, really drunk, everything was becoming a bummer, they didn’t want to tour. They didn’t want to do anything. It was just not fun to be around them anymore.

Marc Spitz: They seemed a lot older. A lot older. And it had only been, like, two years. And they seemed defeated in a weird way. And impatient, like they just wanted it to be over, you know? They were not deluded that maybe it was over, their moment was over.

Albert Hammond Jr.: That’s probably the first time I noticed it had stopped being fun, the recording of First Impressions (of Earth, 2006]. That’s when things started getting into the gap: Friends, girlfriends, strangers would all start coming in, being like, “You should be a bigger band,” and I was like, “Yeah, we should be a bigger band …” For as strong as we were and as close as we were, we weren’t close or strong enough to fight that.

Fabrizio Moretti: That’s the house of cards that is being in the Strokes. There were a lot of emotions that were kept secret but were so evident. We didn’t know how to process them, (a) because we were children and, (b) because it’s hard to process subliminal subconscious volcanic emotions. We were kids that wanted to conquer the world, but we had no idea that we were going to be given the chance.

Marc Spitz: Even when Spin made the Strokes Band of the Year [for 2002] after the Is This It tour, it was already starting. I mean, they played like they believed onstage. They went out there to kill, every fucking night. I still haven’t seen a better band. I didn’t see the Clash, but it was like what you imagine they were like. They came out and punched the audience in the fucking mouth every night. But I remember Nick saying, even then, “Man, this is all bullshit. Like, we’re not even Band of the Year. We shouldn’t be here. The White Stripes are Band of the Year.” They didn’t want to own it, you know?

Julian Casablancas: My biggest regret in general is that I drank so much. I warded off any kind of intense introspection.

Marc Spitz: Julian was a perfectionist. And you saw Jack White was too, but something about the whole thing sat better with Jack. He acted more like a rock star. He crashed his car, he dated Renée Zellweger, he punched out that guy from the Von Bondies. He seemed more suited to that role. His vision seems pretty strong. And Jack didn’t have the burden of New York City.

Jack White (front man, the White Stripes): Sometimes being thrust out there pushes you to hurry up and figure yourself out and do away with years of fumbling. That happened to the Strokes; they had to get it together fast. Meg [White] and I had three albums out and an almost too realistic view that nobody was ever going to care about our music. We were assuming we had a life of playing in bars for 30 people in our future. The extra time to get our things together was good for us mentally. It still shocks me that the mainstream accepted that music; it doesn’t add up.

Austin Scaggs (journalist): I saw the Strokes’ bubble burst when I went to South America and Brazil for a bunch of shows with Kings of Leon and Arcade Fire and the Strokes. I was like, “Ryan, I’ll take the video camera, I’ll document this trip, I’ll just shoot everything and you can have whatever you want. I’ll pay for my own ticket.” Honestly, I was thinking it was going to be like Led Zeppelin, like you walk into the room and there’s a bed full of women. I thought it was going to be a giant debaucherous orgy of booze and drugs. It was the absolute opposite. To be super-blunt about it, the Strokes were crumbling right in front of my eyes, right in front of the camera. There was a lot of resentment and there was a lot of tension. When I got home I was like, “Wow, that was not what I expected.” I didn’t see one naked girl the whole time.

Julia Jacklin takes on The Strokes’ classic from 2001 ‘Someday’ for Radio station triple j’s Like A Version. Julia rolled in, bringing the whole band with her — namely Thomas ‘Tommo’ Stephens, Harrison ‘Harry’ Fuller and Edward ‘Eddie’ Boyd — and gave a beautiful rendition of the 2001 hit from The Strokes album Is This It.
Like A Version is a segment on Australian radio station triple j. Every Friday morning a musician or band comes into the studio to play one of their own songs and a cover of a song they love.

Since 2004, many artists have participated, including Tame Impala, Childish Gambino, Lorde, Mark Ronson, Halsey, Arctic Monkeys, Alt-J, Sarah Blasko, Bon Iver and Hilltop Hoods.

Singer-songwriter Julia Jacklin tugs at the heartstrings with a live performance of her original song ‘Don’t Let The Kids Win’ in triple j’s Like A Version studio, For anyone in the market for some tears, here’s a live version of ‘Don’t Let The Kids Win’ .

Nikolai Fraiture hasn’t been the most celebrated member of The Strokes over the years, but that could all change with the arrival of The Summer Moon – the bassist’s new band with Tennessee Thomas and Lewis Lazar from The Like, and Au Revoir Simone’s Erika Spring. This song is understated and sci-fi tinged, Fraiture nonchalantly singing over skittering, muted electronic patterns. Totally hypnotic.