“Phrazes for the Young” Review
Phrazes for the Young Julian Casablancas Rough Trade/2009 It’s been a dreadful 3 years since The Strokes have put out any source of music for their fans. The members have spent the time working on their own side projects, most notably Albert Hammond Jr., who’s respectively put out two solid records during this time. Most people have stopped holding their breath for this group of boys to return, especially after it was announced the band’s lead vocalist, Casablancas, will also put out a solo piece of his own. The voice of the Strokes indeed has set out his own separate time to for his solo debut, initially teasing followers with an allegorical promotional video that was just under two minutes long. The video sparked a horde of ideas and wonderment towards what direction Julian is heading with this project. The sounds came off as electro. Bleeding with synthesizers and other colorful instruments that hinted towards a visionary sense of music. The record is modestly packed with a collection of eight tracks. All distinctive in their own essence. Julian’s witty lyricism is unquestionably felt. Through a neon set of music, Casablancas flirts with his isolated wordplay, chucking clever Phrazes that could easily bring a smile to face. The only bit of negative stench remains, Julian at times can deliver a boomerang style within his verses. Still, there’s evident trust and comfort before popping this record in, especially after songs like “Take it or Leave It,” “What Ever Happened?,” Automatic Stop,” “Killing Lies,” and “Vision of Division,” all of these songs shudder Julian’s capability of completely tearing a track in half. There’s plenty of emotion, satire and groove in these new set of songs. Rubbing a nearly fearless attack towards the concept of this album, the sound here is very exploratory. Definitely not in the same building as experimental gods such as Bowie, John Cale, Brian Eno and Tom Waits, but definitely making the attempt to knock on the door. Cutting into the meat, the album commences with “Out of the Blue.” This track holds tightly to a neo-Johnny Cash style groove within the guitar. Julian spills pinpoint lyricism that hold tight to the song’s concept title, tracking his emotions that move from hopefulness to sadness, to bitterness, then anger before falling into vengeance. The closing parts head into a racey climax as he bellows, “Take all your fears/Pretend were true/Take all your plans/Pretend they fell through,” before the tempo thickens a step. The following song, “Left & Right in the Dark” carries that Billy Idol-White Wedding echo guitar, along with finely studded percussion. He screams “Wake up, wake up, wake up” in irony as the song begins to fade into complete silence, it then suddenly rushes to loud guitar to stun your ears. “11th Dimension” is one of the most electro/colorful tracks on the record, the sound is progressive, avoiding any sound or pattern from being heard twice. Julian expresses relationship issues with America, with the chorus stating, “And you hear, what you want to hear/And they take what they want to take.” The song’s experimental bridge endures all kinds of synths and scales before sinking into a chugging guitar. Already mid-way through this adventurous record, it’s hard to tell what to make of it. “4 Chords of the Apocalypse” easily shines as one, if not, the best track on the record. The lyricism can raise goosebumps through its painful, surrendered wording, openly admitting, “We’re going nowhere, and we’re going there fast/Anything to watch? While we are waiting, for this apocalypse.” This song rubs next to one of the Strokes older songs “15 Minutes,” in terms of its climatic aggressiveness towards the end. The next track, “Ludlow St.” is named off a street from Julian’s hometown. It grasps a swinging folk sound, touches on his associations with alcohol while carrying a dragging chorus. There’s also a terrific banjo solo that helps cap off this track. “River of Brakelights” is one of the stronger tracks on the album, intricately saved by its “Getting the hang of it/Burning is everything” chorus, that proves to be addictive. Heading towards the closing parts of the record, “Glass” carries a mellow synth-pop sound, with great melody. The final track, “Tourist” is blazed a simple guitar pattern throughout the song. The chorus can get repetitive, but Julian’s lyrcisim within the bridge does the song justice. Phrazes can be determined to be a success in several ways. Casablancas brews a healthy set of sounds throughout this small dose. The sound is truly distinct from the Strokes, who ride completely off groove. It’s obvious Julian’s conceptual proposition towards this record was pridefully anxious for some time. This record can serve as a small bubble of air for those anguish Strokes fans who still holding their breath. Rating: 7.1/10
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