The Strokes - New York City Boys

On The Strokes, who paved the way for revivalist garage rock in the new millennium with their sterling 2001 debut Is This It, in the process becoming one of the biggest indie rock bands of the last decade.

New York City, the year 2000. The Twin Towers tower over the bustling city, far above the underground nightlife that swings to repetitive, unoriginal 80s dance, or mean ghettos populated with diamond-studded rappers, or the midtown Manhattan airwaves brimming with plastic boy band pop. Rock music is out of the picture, has been so since Sonic Youth, or perhaps even The Velvet Underground. The city is beckoning, beseeching someone new to take over. Five kids sporting the choicest of leather jackets swagger their way in. Right place, right time, with just the right music.

These brats knew they owned the goddamned scene all along. Heck, do they look like they care?

The explosion of The Strokes, first onto NYC's music scene and then the world rejuvenated the then directionless indie rock scene. Their sterling debut album, Is This It, WAS it. The media proclaimed them as the 'saviors of rock & roll.' The hype grew, so did the band's fan base, and with this some began to dismiss them as 'just another band' that would die amid the hype and fade into nothingness.

Messiahs or not, they were a bloody solid band. Self-assured without succumbing to arrogance. The 11 tracks on Is This It, packaged under a tight 36 minutes, are produced with unbelievable crispness and finesse. The songs explore the pleasures, frustrations and oddities of the rambunctious 'big city life' in the Big Apple. Frontman Julian Casablancas sings with calm aggression in a cool, detached way that has cocky written all over it. The album's chief appeal however, comes from the background wall of chugging guitars and mechanical drums. The Strokes layer basic riffs, beats and melodies to produce an efficient, minimalist and deceivingly simple sound. A sound which revived old-school garage rock (à la The Stooges, The Velvet Underground) and paved the way for a new wave which still continues to sweep the music world (à la Interpol, Kings of Leon, Arctic Monkeys). 

Here's Is This It. Prepare to be charmed.

Essential tracks: Hard To Explain, Soma, Last Nite & Take It Or Leave It. 

Bands who release excellent first albums find it difficult to match expectations with their second outing. The Strokes decided to retain their signature sound for their second album Room on Fire, essentially conceiving a twin brother for Is This It. 11 tracks, 33 minutes, chugging rhythms, same old same old. They played safe, the album was successful, but the need to evolve was apparent, more so because the indie rock scene was booming and new bands were sprouting by the hour.

Their third album First Impressions of Earth saw them incorporate synthesizers into their vision of retro-rock (like many other bands of the time, The Killers for instance). The first five songs are everything a Strokes' fan could ever want from them; like the brilliant opener 'You Only Live Once' which blessed the YOLO trend way before it became hip. The rest of the album is a mess, gone is the airtight coherence and self-assuredness the Strokes were so oozing with back in the Is This It days.

The Strokes embraced YOLO before it became mainstream. If that isn't ubercool, what is?

Perhaps that's why the Strokes then took a long break, with Casablancas pursuing a solo project in the meantime. They returned with the inconsequential Angles in 2011 and a more welcome Comedown Machine in 2013. What was apparent was the Strokes' move to draw inspiration from their contemporaries (some of them in turn inspired by The Strokes) (snakes swallowing their own tails, anyone?). Their embracement of an ambient synth sound and Casablancas singing in falsetto (what in god's name, right?) was surprising too. Comedown Machine turned out be somewhat of a consolation, had throwbacks to Is This It and was lively and fresh in patches, Tap Out and One Way Trigger being a few.

On a personal note, The Strokes' music was the reason I started listening to more 00's indie rock (over 70s rock, which I was super into before I fell in love with Is This It). They sound so fresh, so alive (just like the big city life they sing about) that I find myself going back to listening their songs now and then just to reassure myself that good music still exists. And you're more likely to drown in the exuberance of their chiming guitars than in the Pacific Ocean. Drown away, my friends!


When The Strokes started out, Casablancas wanted them to sound like a band from the past that took a time trip into the future to make their record. About fifteen years in, they seem to have departed from that vision in the quest to evolve and stand out. Unlike bands that peak early and diminish into insignificance, the Strokes seem to have prolonged a hit to a brick wall. Perhaps, for them, the only way ahead into the future is to look back into the past.

Soft Silly Music Is Meaningful, Magical - A Tribute To Neutral Milk Hotel

On one of the most eccentric yet most loved indie bands - the Jeff Mangum-led Neutral Milk Hotel. 

Everything about Neutral Milk Hotel lies in the realm of the eccentric. 

Take their name for example - three words from the English language which even a randomised word generator would find difficult to bring together. 

Or the fact that they disbanded soon after ballooning into popularity (following the release of their second and final album 'In The Aeroplane Over The Sea') due to Jeff Mangum's nervous breakdown. Mangum, it seemed, was alienated from his music because of the attention he was getting, and took to being a recluse instead of embracing the fandom. 

Not to mention that their music is some of the oddest you'll ever experience. Like a curio at a museum which can only be gawked at in awe but never be comprehended.

Listen to this, the 2 min opening track of In The Aeroplane Over The Sea. It's called 'The King Of Carrot Flowers, part 1' and talks about moms sticking forks into dads' shoulders and dads dreaming of different ways to die. Don't look at me like that, I told you NMH were nutcases right from the start. 

This is either madness... or brilliance, isn't it?

It's remarkable how often these two traits coincide. (Jack Sparrow would concur)

This is exactly how I felt after listening to all of 'In The Aeroplane Over The Sea.' This was either the work of an advanced genius or that of an utter bonghead. NMH were either out of their minds or simply ahead of their time. How about both? Okay? Okay. 

NMH's debut 'On Avery Island' did justice to their eccentricity, but not their musical ability. It was soft, fuzzy music with strange, silly lyrics expressing surreal, cryptic ideas - but it wasn't coherent enough, it wasn't chaotic enough, it wasn't emotionally mature enough. It wasn't Mangum-ish enough.

It did produce this gem of a song, though. (Lyrics)

Not that coherence and chaos are complementary, or that emotion and depth are demanded of soft, silly music to begin with. Ostensibly, we are dealing with opposites here. The oddball mind, or rather the astute genius of Jeff Mangum did however bring all of these qualities out in the musical roller-coaster that is In The Aeroplane Over The Sea, NMH's masterpiece.

Essentially a concept album (though what the concept is is anybody's guess), the album's 11 songs are flush with everything that On Avery Island lacked. Lo-fi fuzz rock - driven by rich acoustic guitars playing no more than 4 simple chords and incorporating musical saws, trumpets, accordions and horns. A marching band on an acid trip. Fueled by the indomitable Mangum's raw emotive energy that envelops, comforts and impassions you like a snuggly eiderdown. The lyrics packaged in these irresistible melodies are cryptic yet accessible, nonsensical yet meaningful, bizarre yet familiar. Classic Mangum, classic Neutral Milk Hotel.

Thematically, Aeroplane talks about the light anguishes of adolescence, fleetingness of life or just about anything in the universe. It all depends on how you view Mangum's view of the world. The lyrics do however make a lot of references to the legendary Anne Frank. Indeed, legend has it that one fine day Jeff Mangum read The Diary Of Anne Frank and was moved like never before.

"I would go to bed every night and have dreams about having a time machine and somehow I'd have the ability to move through time and space freely, and save Anne Frank. Do you think that's embarrassing?" - Mangum in an interview with Puncture Magazine

Aeroplane is essentially the product of Mangum's romanticism of Anne Frank. The love child of Mangum and Anna's ghost, if I may and if you will.

Having said that, trying to give meaning to any of these 11 songs is an exercise in futility. We are touring Mangum's universe in a synthetic flying machine, guided by the man himself. A world wrapped in gold silver sleeves, covered in semen-stained mountaintops where it is strange to be anything at all. Mangum's imagery is ridiculous (With pulleys and weights / creating a radio played just for two / In the parlor with a moon across her face), sometimes depressing (The only girl I've ever loved / was born with roses in her eyes / but then they buried her alive) and totally out of this world (God is a place / Where some holy spectacle lies) but undeniably beautiful. Tugging at, playing with the fragility of our heartstrings. Soft, silly music IS meaningful, magical.

Neutral Milk Hotel haven't released anything original since Aeroplane, have reunited a few times and rare Jeff Mangum sightings at obscure places are reported once a while. For all we know, Mangum is busy building his time machine to save Anne Frank from the clutches of the Nazis (or has he already done so?).

Here's In The Aeroplane Over The Sea in its curious entirety. Enjoy!

The Smiths - A Light That Never Goes Out

On my favourite band - indie legends The Smtihs. 

The Smiths (from left to right):Andy Rourke (bass), Morrissey (vocals), Johnny Marr (lead guitar) & Mike Joyce (drums)

Four misfits who came to be spokesmen for a million others. In Morrissey-Marr, music history finds itself the oddest of collaborations - the former adored Oscar Wilde and 60s girl-groups; was a recluse and sang in a self-absorbed, detached, woebegone manner. The latter was inspired by more traditional artists such as The Who, Patti Smith and George Harrison; was an extrovert and carried a lively, jangling sound with his nimble guitar-playing. Their different styles, surprisingly, jelled well, and together with Rourke & Joyce, helped create a distinctive sound never before heard in rock music.

Morrissey provided the lyrical direction and stage persona. Their songs resonate with the hapless romantic, the maladjusted adolescent, the introverted wallflower and just about everyone who has ever had a lovelorn heart. They aren't miserabilists, mind you, oh no, instead they are the antidote to depression. Their lyrics offer a humorous slant on the most emotional of matters, comforting you out of your misery. That's Moz for you, friends - the potent poet, the sagacious seer, the witty nut.

Morrissey, shy, introverted off-stage yet the most outlandish of performers on it. British NHS glasses (hip much?), loose-fitted shirts and gladioli stuffed in his back pockets were his trademark. Marr, outgoing, extroverted off-stage worked his magic on stage in the background. In the Smiths' live shows, he was hardly there yet made his presence felt. Absurd, right? The Smiths do tend to have that impression.

The Smiths on stage. Moz in front (with shades, loose shirt and gladioli and all) while Marr and the others in the background. 

Marr, on the other hand, provided the musical genius and kept the band together. His guitar melodies are so complex, so unique that he himself couldn't perfectly replicate them. The Stone Roses and Oasis (and therefore every other Brit guitar rock act) owe their sound to him. He is not a guitarist you identify by a cute riff or a pompous solo, but by his entire body of work.

"That man's a f****** wizard" - Noel Gallagher (of Oasis fame). 'Nuff said.

So what do we have here?
A band that lasted for a mere 5 years
Made just 4 proper albums
Never released a bad, shitty song (I might be a teeny bit biased here)
But left an enduring legacy.

By the bye, Perks of Being a Wallflower and 500 Days of Summer were responsible for introducing me to the Smiths. Not the best of ways to discover them, but boy am I glad that I did.

There are only so many bands that write life-saving songs. Songs which rescue listeners from abysmal lows by breathing a new life into them. So what if the songs are 30, even a 100 years old? Do the universal feelings of love and angst that these songs speak about change? Nope, such songs are timeless. Such bands are timeless. The Smiths are such a band.

There's a lot of clamour for a Smiths' reunion, lot's of money being offered, tons of fans (new ones especially, like me) eager to relive them. Chances are extremely slim, probably nonexistent, but hope never dies. Like the ephemeral dazzle of fireworks or the delicate fractals in a snowflake, some things are not meant to be relived, or replicated. Maybe The Smiths are such a snowflake, such a firework. The aftereffects of their combustion will however, never die. The beacon of solidarity they lit in every heart they touched, that light, will never go out.

Here are a few 'essential' Smiths songs for your wonderment. 

1. Hand In Glove

(Lyrics).The most romantic song ever written IMO. Has many interpretations due to its sexually ambiguous nature - which makes it even more romantic!

"No it's not like any other love, this one is different because it's us"

2. This Charming Man

Found this cute stick animation video! This song is trademark Smiths - Moz's croon overlaying jangly, driving guitars. 

"Why pamper life's complexities when the leather runs smooth on the passenger seat"

3. How Soon Is Now?

This song is to the Smiths what Stairway to Heaven is to Led Zeppelin. Iconic tremolo opening, profound lyrics. Probably their most respected masterpiece. 

"I'm human and I need to be loved, just like everybody else does."

4. Please, Please, Please, Let Me Get What I Want

Following their longest song (How Soon Is Now?) is this, the shortest song in their catalogue at 1:52. Its length doesn't undermine its beauty, simplicity and feeling one bit.

5. What She Said

(lyrics) One of their lesser-known hardest, jangliest songs. Polarising. Piercingly witty.

"I smoke cuz I'm hoping for an early death. And I need to cling to something, what she said"

6. The Boy With The Thorn In His Side

3 minute pop perfection. 

"How can they see the love in our eyes, and still they don't believe us"

7. Ask

Ask me if this is one of their good songs, I won't say no, how could I? 

"Coyness is nice, and coyness can stop you, from saying all the things in life you'd like to"

"If it's not love, then its THE BOMB THE BOMB THE BOMB THE BOMB THE BOMB that will bring us together"

8. Stop Me If You Think You've Heard This One Before

No seriously, stop me if you think you've heard this one before. I won't give any excuses, only laugh at you.

"Nothing's changed, I still love you, oh I still love you, only slightly, only slightly less than I used to, my love"

9. Last Night I Dreamt That Somebody Loved Me

Starts off with a piano played over the voice of protesters. The wait for the chorus is worth it, I tell you, for it'll leave you with guaranteed goosebumps. Beautiful, soul-wrenching lyrics.

"Last night I felt real arms around me. No hope, no harm, just another false alarm." 

10. Asleep

Hauntingly beautiful.
Any other comment on this song would be a sin.

"Don't feel bad for me, I want you to know.
Deep in the cell of my heart, I will feel so glad to go."

11. There Is A Light That Never Goes Out

Probably their most popular song. One listen and it's not hard to say why. Bleakly romantic. It would be a privilege to die by the side of your loved one, wouldn't it?

"And in the darkened underpass, I thought, oh god! My chance has come at last."
But then a strange fear gripped me and I just couldn't ask."

Happy listening, and I hope you find the Smiths beautiful in ways I haven't yet. 

This is The One

On one of my favorite albums so far - The Stone Roses' self-titled debut. 

The Stone Roses (Reni, Ian, Squire and Mani). My, you can read the arrogance from their faces!

In 1989, this quartet of ambitious British lads released a timeless album. Blending psychedelic music of the 60s, dance music of the 70s and the then growing 80s guitar pop - their effort was perfect fodder for accompanying the raves and trips of the day. It was the seminal 'Madchester' (basically a music scene in Manchester where you abuse Ecstacy and dance like crazy) album that inspired many imitations and spin-offs. But, since not many really care about the obscure drug-fueled 80s anymore, let me get straight into the 13 beautiful tracks this album offers. Tracks which were early milestones of Indie Rock, which partly initiated and helped inspire countless Britpop acts (such as Oasis).

The songs remain fresh even today (they do form a timeless album, remember). In the opener, 'I Wanna Be Adored,' Ian is at his narcissistic best, nonchalant, expecting to be adored. Listen closely for its amazing bassline and guitar hook, which effortlessly leads into 'She Bangs the Drums,' a bass-riff driven pop masterpiece that is undeniably catchy, irresistibly hummable. 

I don't know what instrument gives 'Elephant Stone' its novel rhythm (probably a wah-wah), but its bloody good. Groovy, dreamy, ethereal. Speaking of ethereal, the single riff-driven 'Waterfall' fits the label. Numbingly therapeutic.

'Don't Stop' and 'Elizabeth My Dear' are probably the only incongruous tracks in the otherwise solid album. The former is very experimental (with backward guitar parts and what not) while the latter is just a one-minute Queen Elizabeth dis. 'Bye Bye Bad Man' (incidentally the title of the superb album art), 'Sugar Spun Sister' and 'Made of Stone' on the other hand, are simply put, just brilliant. 'Shoot You Down' and 'This is The One' are softer, dreamier and just carry you away into a world with candy-floss clouds and licorice roads.

The album closes with two ambitious dance tracks (with spare vocals), each over 8 min long. 'I am the Resurrection' is wistful, with long dance sections which I find tedious. 'Fools Gold' on the other hand, with its looping drums and spiky guitars, is the best album climax in history. It takes just one listen for its rhythm to insidiously creep inside of you and urge you, no, leave you with no choice but to dance. Oscillate wildly to it, friends!

Recommended Album Picks!

Take out an hour from your lives and listen to this as a whole, for the tracks flow from one to another effortlessly. Best listened while travelling, or before sleeping, for you'll be transported into a dreamy world (candy-floss clouds and licorice roads, remember?). 

As a whole, The Stone Roses is brash without being loud, self-assured without being over the top and so confidently executed that it lies in the realm of larger-than-life, genius albums. Each song has a limited vocal range yet is simple, catchy, infectious, and in this The Roses turn their weakness - Ian's vocal ability - into their greatest strength. Reni's watertight drumming (especially on 'Elephant Stone') is greatly commendable. Squire's guitar work is dreamy yet exuberant. Even the Roses couldn't match (or even come close to) this behemoth, ever again. It would be the most Herculean of tasks to overthrow this beauty as my favorite album.