The Strokes are, depending on who it is that you ask, the saviors of rock n’ roll or cleverly marketed worshippers of the past. Regardless, the band’s albums, notably the debut “Is This It,” are consistently ranked as some of the best albums made in recent decades.
Furthermore, regardless of their credibility, The Strokes achieved the sort of rock star appreciation that seemed off-limits for most bands after the 2000s.
Today I’m peeling off my skinny jeans and “I luv NYC” t-shirt and looking at the discography of the garage-rock revival sound of The Strokes. Here are the band’s albums ranked from worst to best.
The Strokes Albums Ranked
6. “Angles” (2011)
The Strokes had shone in the absence but won’t rely on familiar tricks for “Angles.” Instead, Julian Casablancas guides the band through a retro-tinged new-wave affair that is pleasant enough.
Part of this change may be because The Strokes’ style had won out. In their absence, a colossal amount of imitators had sprung up.
Part of it could also be the fact that The Strokes had been criticized for being one-dimensional. Judged from this standpoint, “Angles” is a surprising-sounding record.
“Machu Picchu” is as upbeat and ear-pleasing as the songs from “Is This It,” but the band sounds more inspired by a-Ha than The Ramones for this one.
Meanwhile, “Under Cover of Darkness” sounds like an opportunity for the band to revisit the indie-rock craze they had helped start.
5. “Comedown Machine” (2013)
“Comedown Machine” sees The Strokes doubling down on their new-wave worship in an even more oblique and colorful manner.
If anything, “Comedown Machine” proves that The Strokes had survived their own hype. Their new sound doesn’t deny the energy-driven ditties of their first two records. But it leaves room for quirky 80s-inspired sounds and experimentation.
On “One Way Trigger,” Casablancas sings like a man desperately trying to reach the notes in “Take on Me.” The surprising stylistic shift is a welcomed addition to the band’s discography.
“All the Time” approximates the high-level energy of their early singles and provides the perfect later-day addition to their arena-friendly setlists.
4. “First Impressions of Earth” (2006)
Few critics expected The Strokes even to make three albums, let alone to change their winning formula. “First Impressions of Earth” sees the band tilting in a new direction, with survival as the only goal.
“First Impressions of Earth” may have been nearly universally greeted as a failure in 2006. But circumstances need to be considered.
The Strokes achieved the kind of success that would kill most pop stars. Their sound was built around a retro formula. And critics weren’t going to let them do the same thing three times in a row.
“You Only Live Once” features an upbeat, faux-reggae beat and quotable lyrics that kept The Strokes on the charts.
“Juicebox” is constructed around distorted guitar, distorted vocals, and raw energy that seemed to suggest Casablancas was ready to answer his numerous critics.
And while songs like “Vision of Division” or “Heart in a Cage” are highlights, the 52-minute run-time of the record feels unjustified.
3. “The New Abnormal” (2020)
“The New Abnormal” finds The Strokes in an uncharacteristically reflective mood resulting in one of the band’s finest albums.
Nearly a decade had elapsed since their return. In the meantime, the band’s shift toward a retro-pop direction had been entirely accepted by the audience, and the band had also grown more familiar with its complexities.
“Brooklyn Bridge to Chorus” and “Ode to the Mets” suggest Casablancas may have gotten soft over the years, but that earnestness is a pleasant addition.
“The Adults Are Talking” allows the band to work within the synth-pop sound they’d explored on their previous two albums.
Overall, “The New Abnormal” shows that The Strokes have ideas beyond mere garage-rock or new-wave cliches about coolness.
2. “Room on Fire” (2003)
The Strokes had mined the best of retro garage rock with their debut. The same tricks work nearly as well on “Room on Fire” but are a bit less surprising this time.
“Reptilia” includes a manic, driving groove and Hammond’s intricate guitar work, which helped The Strokes maintain commercial momentum.
“12:51” is built around a danceable beat and catchy chorus. This was also a hit and proved that, like other indie-rock music of the era, The Strokes had no problem in adopting 80s-styled pop tricks within their sound.
Like the stars of grunge or Bitpop before the garage-rock revival, The Strokes were on the crest of a wave and making the best of their opportunities.
1. “Is This It” (2001)
The Strokes’ debut album, “Is This It,” benefitted from an almost fanatic level of hype from the music press. However, two decades later, their garage-rock revival shtick still holds up.
That’s because most of the songs are very good, instantly memorable, and built around the sound of groups like Television or The Velvet Underground, The Strokes’ NYC predecessors.
No, they do not invent anything. Even the album cover is a tribute to the artwork described in the Spinal Tap movie.
Yes, Julian Casablancas’ rich kid status helped get the band signed. The rest of the band’s success is due to them and to incredibly good luck.
“Last Nite” features a catchy guitar riff borrowed from Tom Petty’s “American Girl” and infectious energy that helped make it a hit single and turned The Strokes into fashion icons of the new millennium.
“Someday” is built around a memorable melody and relatable lyrics that endeared them to a new generation who loved leather jackets, but not Metallica necessarily.
“Hard to Explain” and “Take It or Leave It” is pop gold channeled through Casablancas’ fuzzed-out, screamed vocals.
Meanwhile, early pressings include the song “New York City Cops,” in which The White Stripes’ Jack White trades guitar licks with The Strokes’ Albert Hammond Jr. and Nick Valensi.
Like the Yeah Yeah Yeahs and Interpol, The Strokes benefited from the world’s post-2001 affection for New York. Regardless of the hype, it’s hard to deny the ear-candy quality of the tunes on “Is This It.” It’s ranked as the band’s best album by virtually anyone who ever bothered with the band.
