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).
Modern Girls & Old Fashioned Men
The Strokes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Modern girls always have to go (right on time)
Old-fashioned men always want a mistress (you were right)
Modern girls always get their way (I was wrong)
Modern men dream of what they can't say (That's alright)
Right - right, right, right, right
I don't belong (I don't belong)
Why you gotta say it if you know it's something wrong? (Why you sittin' over there?)
Says that he'll apologize and it won't take too long
Well you don't wanna trust nobody else (Always thinking 'bout yourself)
(Time)
There's a few things that are gonna have to change
(On your side)
Everyone has the same opinion
(Won't you please?)
Your time is almost over
(Don't be mean)
We won't get the chance to do this over (That's alright)
Right - right, right, right, right
I don't belong (I don't belong)
I don't want the imprint of your key upon my nose (Why you sittin' over there?)
You don't have to tell no one 'cause no one wants to know
That you don't have no happiness at all (Always thinking 'bout yourself)
Shhh....
Oh yes we're falling down (Oh yes we're falling down)
Oh yes we're falling down (Oh yes we're falling down)
Oh yes we're falling down (Oh yes we're falling down)
yes we're falling down (Oh yes we're falling down)
Oh yes we're falling down (Oh yes we're falling down)
Oh yes we're falling down (Oh yes we're falling down)
Oh yes we're falling down (Oh yes we're falling down)
So fucking help me up (So fucking help me up)
Always thinking 'bout yourself (You don't love me)
Always thinking 'bout yourself (I am an animal)
Always thinking 'bout yourself (I am not practical)
Was, I…? (Was, I…?)
"Modern Girls And Old Fashion Men" by The Strokes is a song that expresses the differences between modern relationships and those from the past, highlighting how the image of the modern girl and the old-fashioned man, always wanting a mistress, contrasts with the modern men dreaming of what they can't say. The song has an interesting structure that allows for both a frontman and a backup singer, representing different perspectives on the topic. The song essentially talks about the struggles and battles in a destructive relationship with a partner that only thinks of themselves. The repeated line, "I don't belong," echoes the feelings of detachment, confusion, and isolation in the relationship because of the fundamental differences between them.
The chorus also makes a statement about holding onto the past, even if it means losing sight of one's self in the present. The lyrics suggest that we have to embrace change and not look back because time is running out, and we won't get another chance. The song ends on a more upbeat note with the repeated lines, "Oh yes, we're falling down, so f***ing help me up," implying that hope and salvation can still be found if someone is willing to reach out.
Overall, "Modern Girls And Old Fashion Men" palpably conveys how challenging it can be to navigate a relationship when partners have different values, aspirations, and backgrounds. The song explores the tension and conflict between modernity and tradition, individual and collective, and highlights that we can't always get what we want. Ultimately, the song implies that relationships are complex and require constant effort, compromise, and understanding.
Line by Line Meaning
You were
Addressing the subject of the song, an old-fashioned man.
Modern girls always have to go (right on time)
Modern women are always busy and punctual.
Old-fashioned men always want a mistress (you were right)
Old-fashioned men desire a romantic and sexual relationship aside from their primary partner.
Modern girls always get their way (I was wrong)
Modern women tend to be assertive and have things done according to their preference.
Modern men dream of what they can't say (That's alright)
Modern men have desires they cannot speak of but they are okay with it.
Right - right, right, right, right
Sarcastically agreeing with what has been said.
I don't belong (I don't belong)
Feeling out of place.
Why you gotta say it if you know it's something wrong? (Why you sittin' over there?)
Asking a question about why a person says something they know is inappropriate, with a hint of annoyance.
Says that he'll apologize and it won't take too long
An old-fashioned man who has committed a mistake promises to say sorry but will do so later.
Well you don't wanna trust nobody else (Always thinking 'bout yourself)
Being self-centered and not willing to rely on anyone else for help.
(Time)
A pause in the song with no actual meaning.
There's a few things that are gonna have to change
Something needs to be altered or adjusted.
(On your side)
Another pause in the song, not related to anything else.
Everyone has the same opinion
Everyone shares the same viewpoint on the subject matter.
(Won't you please?)
Pause in music without context.
Your time is almost over
A warning that an opportunity is almost gone, and there may not be another chance for it.
(Don't be mean)
Pause in music without context.
We won't get the chance to do this over (That's alright)
Acknowledging that there's no opportunity to do things again and being okay with it.
I don't want the imprint of your key upon my nose (Why you sittin' over there?)
Rejecting the idea of a person getting too close or being possessive, with annoyance expressed again.
You don't have to tell no-one 'cause no-one wants to know
No one is interested in the romantic and personal life of the subject.
That you don't have no happiness at all (Always thinking 'bout yourself)
Being unhappy due to a self-centered attitude.
Shhh....
Shushing or making a tone of silence.
Oh yes we're falling down (Oh yes we're falling down)
Repeating the phrase in a chorus, which may imply a feeling of failure or downfall.
So fucking help me up (So fucking help me up)
Asking for help or assistance to stand up again.
Always thinking 'bout yourself (You don't love me)
The song concludes with a final line that restates the subject's self-centeredness while adding a romantic element to it.
Always thinking 'bout yourself (I am an animal)
A statement describing the subject as an animal that is always prioritizing their needs and desires.
Always thinking 'bout yourself (I am not practical)
Describing an impractical and unreasonable nature of the subject is again reiterated by repeating the chorused phrases.
Was, I...?
An unfinished thought and the end of the song.
Contributed by Elizabeth V. Suggest a correction in the comments below.
@sarahrayanne8247
You were (right)
Modern girls always have to go (right on time.)
Old-fashion men always want a mistress (you were right)
Modern girls always get their way (I was wrong.)
Modern men dream of what they can't say (that's alright)
That's alright (I don't belong)
I don't belong
(Why you sitting over there?) why you gotta say it if you know it's sounding wrong
Says that he'll apologize and it won't take too long
(Always thinking about yourself) you don't wanna trust nobody else
(Time)
There's a few things that are gonna have to change (I'm your son)
Everyone has the same opinion (won't you please)
Your time is almost over (don't be mean)
We won't get the chance to do this over (that's alright) alright
(I don't belong) I don't belong
(Why you sitting over there?) I don't want the imprint of your key upon my nose
We don't have to tell no one, cuz no one wants to know
(Always thinking about yourself) you don't have no hapiness at home
Oh yes, we're falling down (oh yes, we're falling down)
Oh yes, we're falling down (oh yes, we're falling down)
Oh yes, we're falling down (oh yes, we're falling down)
Yes, we're falling down (oh yes, we're falling down)
Oh yes, we're falling down (oh yes we're falling down)
Oh yes, we're falling down (oh yes we're falling down)
Oh yes, we're falling down (oh yes we're falling down)
So fuck and help me up (so fuck and help me up)
(You don't love me) always thinking about yourself
(I am an animal) always thinking about yourself
(I'm not practical) always thinking about yourself
Was I?
Was I?
@hegdepuffin
Why isn't this a more known strokes song? It's amazing.
@nickzzzinger
b-side bruthuh
@destroucs5446
Because people sucks
@MrShahid0072
@Noize he did..
@ToonsCraft1
They should've uploaded b-sides onto Spotify. There are so many gems there.
@HDJoltTV
You know why..... (it wasn't on an album)
@mayaceleste842
Holy crap. I have loved Regina Spektor for basically forever, and I have loved The Strokes for almost 2 years, and this song just combined perfection with perfection.
@TheCajunhotsauce
This is rock perfection. I remember the first time I heard Automatic Stop, and I thought "Wow! This band can do so many things well!" STILL being surprised by Room on Fire-era.
@laptophp375
This band is how rock should have been
@cayleighhughesss3267
There needs to be more duets between them. It's just so perfect. I can't stop listening to this gem.