Members
Julian Casablancas (vocals), Nick Valensi (guitar), Albert Hammond Jr. (guitar), Nikolai Fraiture (bass), and Fabrizio Moretti (drums)
Formation
The founding process of The Strokes was a serendipitous convergence of childhood connections and a shared musical vision. Julian Casablancas, Fabrizio Moretti, and Nick Valensi, childhood friends with varying musical experiences, came together in the late '90s. The trio's dynamic was enriched with the addition of guitarist Albert Hammond Jr. and bassist Nikolai Fraiture. Bonded by a mutual love for garage rock, punk, and new wave, the quintet officially formed The Strokes in 1998, embarking on a journey to synthesize their diverse influences into a sound that would later redefine the indie rock landscape. The amalgamation of their individual talents and shared passion for music set the stage for The Strokes' rise to prominence in the early 2000s.
Is This It (2001)
"Is This It" The Strokes" debut album released in 2001 under the reputable record label RCA, is an electrifying sonic manifesto that not only redefined the landscape of indie rock but also garnered widespread critical acclaim. Infused with a raw and unfiltered energy, the album became an instant classic, hailed for its gritty exploration of New York City's underground music scene. Featuring iconic tracks like "Last Nite" and "Someday," Julian Casablancas' charismatic vocals, Nick Valensi and Albert Hammond Jr.'s guitar interplay, and the band's overall swagger made "Is This It" a timeless masterpiece. Its critical acclaim propelled The Strokes to the forefront of the early 2000s indie rock revival, cementing their status as trailblazers in the genre.
Room On Fire (2003)
"Room On Fire" the sophomore album by The Strokes released in 2003, seamlessly follows the success of their groundbreaking debut, "Is This It" The Strokes" (2001). While "Is This It" The Strokes" quickly became a cultural touchstone and achieved widespread acclaim, "Room On Fire" faced the challenge of living up to its predecessor's legacy.
From the rhythmic urgency of "12:51" to the infectious guitar riffs of "Reptilia," each track on "Room On Fire" showcases The Strokes' continued commitment to crafting catchy, yet substantive, rock anthems. While not eclipsing the commercial success of their debut, the album solidified The Strokes' standing as stalwarts of the early 2000s rock revival, demonstrating their artistic growth and ability to sustain their unique sound.
Juicebox and First Impressions Of Earth (2005 - 2006)
"Juicebox" by The Strokes, released as a single on November 14, 2005, ahead of their album "First Impressions of Earth," faced an early online leak, adding to the anticipation. Despite this, the track's bold guitar riffs and Julian Casablancas' charismatic vocals contributed to its positive reception, marking a significant moment in The Strokes' musical journey. They also released a catchy B-side "Hawaii".
"First Impressions Of Earth" The Strokes' third studio album released in January 2006, received a mix of reviews. Critics praised the album's experimental departure from the band's earlier sound, commending Julian Casablancas' introspective lyrics, dynamic guitar work, and rhythmic innovation. Standout tracks like "Juicebox" and "You Only Live Once" showcased The Strokes' ability to evolve while retaining their signature coolness. Despite differing opinions, the album marked a bold exploration of new musical territories and sparked conversations about the band's artistic evolution within the indie rock landscape.
Angles (2011)
"Angles" released by The Strokes in 2011, is a pivotal album in the band's journey, receiving a mix of reviews. Critics lauded its experimentation and collaborative nature, showcasing a departure from their previous works. Standout tracks like "Under Cover of Darkness" and "Machu Picchu" received praise for blending The Strokes' signature sound with fresh influences. While some critics found the album's diversity refreshing, others felt it lacked cohesion. Despite mixed reviews, "Angles" signaled The Strokes' return with a revitalized energy, sparking conversations about their evolving musical direction.
Comedown Machine (2013)
"Comedown Machine" released by The Strokes in 2013, is a unique entry in their discography. The album showcases a departure from their traditional sound, embracing a more synth-driven and experimental approach. Tracks like "One Way Trigger" and "Tap Out" demonstrate The Strokes' willingness to evolve, dividing critics but still affirming their capacity for sonic exploration. "Comedown Machine" adds another layer to The Strokes' musical evolution, inviting listeners into a realm of unexpected sounds and creative divergence. The Strokes adopted a media blackout strategy, refraining from interviews and traditional promotional activities. This intentional approach added an air of mystery to the album's release, sparking curiosity and discussions about the band's creative intentions.
Future Present Past EP (2016)
"Future Present Past" is a 2016 EP by The Strokes, featuring tracks like "Drag Queen", "OBLIVIOUS" and "Threat Of Joy" offering a glimpse into the band's evolving sound during the period between their albums "Comedown Machine" and "The New Abnormal".
The New Abnormal (2020)
Produced by legendary music producer Rick Rubin, "The New Abnormal" is The Strokes' sixth studio album, released in 2020 after a seven-year hiatus. The album represents a return to the spotlight for the band and showcases a blend of their signature rock sound with fresh and contemporary elements. Notable tracks include "The Adults Are Talking" and "Selfless". "The New Abnormal" received critical acclaim for its maturity, experimentation, and the band's ability to evolve while staying true to their distinctive style. The album's release was a highly anticipated moment for fans, marking a successful comeback for The Strokes after their extended hiatus.
Albert Hammond Jr. confirmed, that The Strokes are working on a new album, a follow-up to the succesful "The New Abnormal".
Here are the band members' side projects along with their released albums:
Julian Casablancas:
Julian Casablancas - Phrazes For The Young (2009).The Voidz - Tyranny (2014), Virtue (2018).
Albert Hammond Jr.
Albert Hammond Jr. - Yours To Keep (2006), Como Te Llama? (2008), Momentary Masters (2016), Francis Trouble (2018).
Nick Valensi
CRX - New Skin (2016), Peek (2018).
Fabrizio Moretti
Little Joy - Little Joy (2008).machinegum - Conduit (2019).
Nikolai Fraiture
Nickel Eye - The Time Of The Assassins (2008).SUMMER MOON - With You Tonight (2017), Casino Days (2023).
Meet Me in the Bathroom
The Strokes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
They mean promises
They'd say, that's okay
Long as we can celebrate
Ooh, you see, my uncle would say
Things would change when he's dead
Meet me in the bathroom
I don't mind
It's true
Hey
Never was on time
Yes, I once was mine
Well, that was long ago
And darling, I don't mind
Yeah, we were just two friends in lust
And baby, that just don't mean much
Oh yeah, you trained me not to love
After you showed me what it was
Now she's staring wide-eyed
Can't close her eyes
Say what?
Anywhere is fine
Just don't waste my time
Ah, you see, my uncle would say
Things would change once he's dead
Meet me in the bathroom
That's what she said
I don't mind
It's true
Never was on time
Yes, I once was mine
Well, that was long ago
And darling, I don't mind
Yeah, they were just two fucks in lust
Oh baby, that just don't mean much
Oh yeah, you trained me not to love
After you taught me what it was
The opening lines of The Strokes’ “Meet Me in the Bathroom” set the tone for a desperate plea against broken promises made in romantic entanglements. The lines “When they say promises, they mean promises / They’d say 'that's okay, long as we can celebrate'” point to the addictive nature of volatile relationships, where empty promises are fulfilled via fleeting moments of physical intimacy. The singer’s experience is contextualized by his uncle’s advice that “Things would change when he’s dead.” This line is particularly evocative, as it speaks to the misguided hope that change is always on the horizon.
As the song progresses, the singer is held up as the paradigm of someone who is constantly strung along, never being on time and always being in thrall to his subject of desire. The titular line, “Meet me in the bathroom,” is intriguing because it can be read in multiple ways - is it a whispered plea for privacy or a coded reference to drug use? The line “Yeah, we were just two friends in lust / And baby, that just don't mean much” speaks to the tragic consequences of being in relationships where emotions are sacrificed for fleeting physical pleasure.
The line "You trained me not to love, after you taught me what it was," reveals the painful realization that the subject of the singer's affection has caused him to become disillusioned about love itself. Overall, “Meet Me in the Bathroom” is a powerful portrait of a relationship teetering on the edge of collapse, where intimacy and connection are sustained by promises that are destined to be broken.
Line by Line Meaning
When they say promises
When people talk about making promises
They mean promises
They are talking about actual promises
They'd say, "that's ok,
They would agree to something
Long as we can celebrate"
As long as there is something to celebrate afterwards
You see, my uncle would say
In my experience, my uncle would often say
things would change when he's dead
Things will only change after he's gone
"Meet me in the bathroom"
Let's meet up in the bathroom
That's what she said
That's what the person I was talking to said
I don't mind, it's true.
I'm okay with it
Never was on time
I was never punctual
Yes, I once was mine
There was a time when I was in control of my life
Well, that was long ago
But that was a while back
And darling, I don't mind.
But it doesn't bother me now
Yeah, we were just two friends in lust
We were just friends who were physically attracted to each other
And baby, that just don't mean much
But that isn't really important
You trained me not to love
You taught me not to care about romantic love
After you showed me what it was
After you introduced me to it
Now she's staring wide-eyed
She is looking at something with a lot of interest and attention
Can't close her eyes
She can't look away
Say what?
What did you say?
Anywhere is fine
I don't care where we go
just don't waste my time
I don't want to spend time on something pointless
Yeah, they were just two fucks in lust
They were two people who only wanted sex
Baby, that just don't mean much
But that isn't really important
You trained me not to love
You taught me not to care about romantic love
After you taught me what it was.
After you introduced me to it
Lyrics © Warner Chappell Music, Inc.
Written by: Julian Casablancas
Lyrics Licensed & Provided by LyricFind