Political Beats – Episode 154: Christopher Scalia / The Strokes (Dec 25, 2025)

Host: Scott Bertram | Co-host: Jeff Blair
Guest: Christopher Scalia, Senior Fellow at the American Enterprise Institute, author of 13 Novels Conservatives Will Love (But Probably Haven’t Read)

Overview

In this deep-dive, Political Beats welcomes back Christopher Scalia to explore the music, influence, legacy, and career arc of The Strokes, the New York City-based band that became the torchbearers—and supposed saviors—of rock and roll in the early 2000s. The episode moves chronologically through the Strokes’ discography, dissecting musical and lyrical evolutions, influences, and context, and laying bare the question of whether the band fulfilled the immense expectations placed upon them.

1. Setting the Stage: Why the Strokes Matter

Timestamps: 05:09–14:37

• Chris Scalia’s Fandom

  • Jumped on the Strokes bandwagon from their hyped debut EP (early 2001)
  • “I love the Strokes because their music is fun and it sounds good.” (Chris Scalia, 05:30)
  • Contrasts Strokes with their contemporaries: the White Stripes, boy bands, rap rock, and Disney pop.
  • Drawn to both their aesthetic and their embrace of the "cool rock star" persona.

• Who Were the Strokes Competing With?

  • “Charts and MTV were dominated by boy bands and Disney pop like Britney Spears and Christina Aguilera. And then rock was dominated by rap rock. The less we say about that, the better.” (Chris Scalia, 06:54)

• Why the Hype?

  • The Strokes presented as the last great hope for guitar-based rock to reclaim cultural relevance.
  • Their look, attitude, and embrace of the rock star persona set them apart from grunge contemporaries who eschewed stardom.

• Initial Skepticism Turned Fandom

  • Jeff confesses initially resisting the Strokes due to hype and his narrow Radiohead fandom, but later recognizes “some of the best music made in the 21st century…these first two albums.” [14:37]

2. Dissecting the Strokes’ Sound and Identity

Timestamps: 11:52–28:29

• Core Sound Elements

  • Guitars: Two “lead” guitars often playing angular, divergent lines—“It’s almost like there’s two lead guitars in every song.” (Chris Scalia, 09:40)
  • Vocals: Julian Casablancas’ vocals, buried in the mix and filtered/distorted—evoking Lou Reed.
  • Drums: Tight, precise—Fab Moretti brings mechanical precision reminiscent of The Cars or Spoon’s Jim Eno.

• Influences

  • Lou Reed, Velvet Underground, Television, The Jam, The Pixies, Talking Heads, The Stones, Wire, Pavement, The Cars, Billy Joe, Iggy Pop.
  • “There’s something so immediate and bracing about the way they employ chord changes. But of course, it all sounds like it’s old wine in new skins.” (Jeff Blair, 14:37)

• How To Recognize a Strokes Song?

  • Scott: The interplay of the guitars is key; later albums lose this, diluting their signature sound.
  • Jeff: “What most defines the Strokes for me isn’t just the crispness of their song structure…the dueling guitars. It’s the songwriting…and the chord changes. They’re fundamentally wistful…there’s a quiet intelligence.” (Jeff Blair, 26:02)

3. Band Backstory & Context

Timestamps: 28:29–34:05

• Members:

  • Julian Casablancas (lead vocals, primary songwriter)
  • Nick Valensi (guitar), Albert Hammond Jr. (guitar)
  • Nikolai Fraiture (bass)
  • Fabrizio “Fab” Moretti (drums)

• Privileged Backgrounds

  • Noted their international schooling and affluent family connections.
  • “There’s a lot of international privilege here…” (Jeff Blair, 29:07)

• Band Chemistry

  • Early period heavily controlled by Casablancas, who wrote nearly all early material.
  • “He was almost a control freak…He was writing all the guitar parts, too.” (Chris Scalia, 29:58)

4. Album-by-Album Analysis

A. Debut: "Is This It" (2001)

Timestamps: 34:05–54:55

• Media Impact

  • "The last time I can remember a rock album upending the cosmos." (Jeff Blair, 33:40)

• Album Aesthetic

  • Short, sharp, 36-minute runtime—reaction against bloated CD-era records.
  • Precise sequencing, cohesion—demanding album-listening over singles.

• Key Tracks & Moments

  • "Is This It" — Lethargic start, then a “sinewy” bassline kicks in (36:51)
  • "The Modern Age" — “Let me go go go go go go go…” slacker aesthetic with tight professionalism (38:52)
  • "Someday" — “Julian’s vocals are not the most important part…but I do love the line, ‘You say you want to stay by my side, Darling, your head’s not right’.” (Chris Scalia, 43:05)
  • "Last Nite" — “Impossible not to hear that as an updating of the late 70s, early 80s—intro sounds like Petty’s ‘American Girl’…” (Jeff Blair, 45:33)
  • "Hard to Explain" — Distinctive, pseudo-mechanical drums (not electronic).
  • "Barely Legal" — Britpop overtones, locked-in drums (54:23)

• Critical Consensus

  • Scott & Jeff: Neither overrated nor underrated, just classic.
  • “It’s one of the great debut albums of all time.” (Jeff Blair, 34:05)

B. "Room On Fire" (2003)

Timestamps: 57:16–75:36

• Initial Reception

  • Dismissed for sameness, but now widely seen as equally strong.
  • “If Is This It is an A, this is what, an A minus? Or an A? It’s really a fantastic record.” (Jeff Blair, 56:02)

• Highlights

  • "Reptilia" — “A perfect rock song…‘Please don’t slow me down if I’m going too fast’…Absolutely grunting out, ‘The room is on fire as she’s fixing her hair.’” (Scott Bertram, 65:12)
  • "12:51" — “It sounds like a synth, but it’s a guitar. That feels revelatory.” (Jeff Blair, 59:54)
  • "The End Has No End" — Later career New Pornographers connection mentioned.
  • "Under Control" — “Sort of a tribute to 60s soul—guitars playing horn lines.” (Scott Bertram, 63:03)
  • "Meet Me in the Bathroom" — Thematically and titularly emblematic of NYC indie milieu.
  • "You Talk Way Too Much" — Lyrical self-referencing: “Is this all there is?” as call-back to the debut.

• Guitar Interplay Shows Peak Form

  • “Everything old is new again in their hands…Everyone seems to be aware of what everyone else is playing at the same time…” (Jeff Blair, 67:03)

C. "First Impressions of Earth" (Dec 2005)

Timestamps: 75:36–92:43

• Critical and Fan Reaction

  • Noted shift in sound—denser, darker, longer (over 50 min vs. 36; “bigger, blockier")
  • “It’s sort of…darker, thicker and longer…[They] so bastardized the sound that there’s no center anymore.” (Scott Bertram, 77:16)
  • Attempts at branching out, but with mixed success.

• Debated Track: "Ask Me Anything"

  • Jeff: “It’s the best song on the record…a plaintiff ballad with synth strings.” (81:09)
  • Chris: “I hate ‘Ask Me Anything’…spend more than three minutes repeating ‘I’ve got nothing to say’ if that’s your chorus…” (88:06)

• Other Notables

  • "Juicebox" — Darker, heavier, but not universally loved.
  • "Razorblade" — Chorus melody lifted directly from Barry Manilow’s “Mandy.” (90:49)
  • Lyrics: Increase in political subtext, but still veiled.
  • Album ultimately considered bloated, inconsistent.

D. Interregnum & Side Projects (2006–2011)

Timestamps: 92:43–95:27

• Drug issues, solo records, personal and industry burnout.
• “Drama and drugs…pressure from industry as well… it was disappointment over how the previous album went…” (Chris Scalia, 93:20)
• Notable solo projects by Casablancas and Hammond Jr.

E. "Angles" (2011)

Timestamps: 95:27–110:25

• Background

  • Rumored to be a fragmented/remote recording process; some myth-busting from Chris.
  • “Really good album… the album I think they wanted to make on First Impressions of Earth.” (Scott Bertram, 95:40)

• Standouts

  • "Under Cover of Darkness" — Peak chorus, soaring harmonies, signature dual-guitar and drum interplay.
    • “I think it’s Julian’s best vocal performance, too, especially chorus. He hits those notes so well…” (Chris Scalia, 107:41)
  • "Two Kinds of Happiness" — Double-time chorus, Pixies-like guitar, post-punk, and U2 influences.
  • "Gratisfaction" — “If Nick Lowe were a rude New Yorker…” (Scott Bertram, 98:57)
  • "Life Is Simple in the Moonlight" — Regretful, synth-laden, reflective of the band’s troubled career arc.

• Context

  • “This is the album we should have done after Room on Fire, but you can’t redo time.” (Jeff Blair, 96:20)

F. "Comedown Machine" (2013)

Timestamps: 112:47–123:36

• Polarized Reception

  • Jeff: Weakest, least memorable Strokes album—“calm down machine for me.”
  • Chris: Vehement defense; sentimental favorite due to personal associations, “their most underrated song”: "All the Time."
    • “I think ‘All the Time’ is their most underrated song…up there with ‘Undercover of Darkness’ for me.” (Chris Scalia, 116:32)
  • Synth-heavy, muted and muddy production; disco and 80s sound experiments.
  • Some falsetto vocal explorations beginning.

• Divergent Opinions

  • “By this point, no one is confusing the Strokes for the Velvet Underground or the Stooges.” (Scott Bertram, 119:45)
  • Song "50/50" gets compared to the Ramones.

G. "Future Present Past" EP (2016)

Timestamps: 123:55–126:13

• “Extension of Comedown Machine,” some fun (esp. “Threat of Joy”), but generally minor.
• Lyrics and sound trend toward Casablancas’s output with side project The Voidz.

H. "The New Abnormal" (2020)

Timestamps: 126:13–141:09

• Comeback with Rick Rubin Producing

  • Returned in the COVID era; album title possibly a pandemic reference.
  • Won the band their first Grammy (Best Rock Album).

• Derivative, But Engaging

  • “Their most derivative album.” (Chris Scalia, 128:02)
  • Notable for heavy borrowing (“Bad Decisions” rips Billy Idol’s “Dancing With Myself”; “Brooklyn Bridge to Chorus” = Pet Shop Boys; “Eternal Summer” = Psychedelic Furs’ “The Ghost In You”; “Ode to the Mets” = Queen’s “Radio Ga Ga”).

• Track Highlights

  • "The Adults Are Talking" — Strong opener, falsetto, trademark guitar duets.
  • "Bad Decisions", "Brooklyn Bridge to Chorus", "Eternal Summer" stand out as successful homages.
  • Album acknowledged for mature approach and creative use of influences, but questions linger about originality.

• Mixed Feelings on Legacy

  • “I can’t be confident in my evaluation of this record because so much of it reminds me of other people and other things…” (Scott Bertram, 138:41)

5. Legacy & Closing Thoughts

Timestamps: 141:09–148:03

• Despite not saving rock and roll, the Strokes delivered two era-defining records, huge influence on 21st-century guitar bands, and one of the last moments when rock felt culturally central.
• Everyone agrees: whatever their missteps, the Strokes’ best material stands the test of time.

6. Wrap-up: Essential Albums & Tracks

Timestamps: 142:11–148:03

Christopher Scalia:

• Albums: Is This It, Room on Fire, (bonus) Comedown Machine
• Songs: “Hard to Explain,” “Reptilia,” “Last Nite,” “Under Cover of Darkness,” “All the Time”

Scott Bertram:

• Albums: Room on Fire, Angles
• Songs: “Someday,” “The Modern Age,” “Reptilia,” “Under Control,” “Life Is Simple in the Moonlight”

Jeff Blair:

• Albums: Is This It, Room on Fire
• Songs: “Ask Me Anything,” “Under Cover of Darkness,” “Two Kinds of Happiness,” “The Adults Are Talking,” “When It Started”

Adele Scalia Picks (honorable mention):

• “Modern Age,” “Under Control,” “You Only Live Once,” “Life Is Simple in the Moonlight,” “Happy Ending”

7. Notable Quotes & Memorable Moments

• “If you talk to right of center people about their favorite works of fiction, they tend to talk about the same handful of books. …what I wanted to do with this book was introduce readers to a broader range of great fiction that explores conservative ideas sympathetically.”
  Chris Scalia, 03:11 — On his book

• “I’m a sucker for a cool-looking band. That’s a big reason I like Oasis as much as I do.”
  Chris Scalia, 07:56 — On the Strokes’ visual appeal

• “I try my love with you. Let’s see, what is horses?”
  Jeff Blair, 11:15 — Humor and thematic confusion

• “It’s not underrated. It’s not overrated. It’s rated exactly as it should be.”
  Jeff Blair, 34:05 — On "Is This It”

• “You say you want to stay by my side, Darling, your head’s not right.”
  Chris Scalia, 43:05 — On “Someday”

• "We worked hard but looked like we’re not really trying."
  Chris Scalia, 39:30 — On the band’s slacker/professional dichotomy

• “That’s why they were such a tight band…it shows in their live acts, and it shows on this album.”
  Chris Scalia, 39:33 — On studio & stage discipline

• “This is that last bit of rock energy in the 21st century before I think it all kind of winked out finally. And if anyone’s going to carry the flag and be the avatar of that movement, it probably should be the Strokes.”
  Jeff Blair, 19:18 — On the Strokes’ place in history

• “No one talks about the war on my block or on the shore.”
  Chris Scalia, 117:53 — Political undercurrent in later albums

• “I’ve got nothing to say and I’ve got nothing to give. Got no reason to live and I will fight to survive.”
  Jeff Blair, quoting "Ask Me Anything," 81:43

• “This is, this is…music from an era…that was part of my childhood. So of course I’m going to feel pretty wistful reliving it.”
  Jeff Blair, 72:45 — On the nostalgia of the NYC scene

8. Key Takeaways

• The Strokes burst forth at a moment of crisis for rock, reinvigorating the genre with style, economy, and attitude.
• Their first two records remain classics: concise, riff-filled, endlessly replayable.
• Subsequent albums show both attempted evolution and friction, with mixed reception but flashes of greatness.
• Heavily shaped by their influences, the Strokes are both homage and innovator.
• Their mythology endures—less as the "saviors" of rock, more as the ultimate late-era standard-bearers.

Final Note:
For those unfamiliar, this episode serves as a detailed, engaging map through The Strokes’ career—their context, sound, impact, and where their legacy stands today (2025). Whether you’re a die-hard or a newcomer, the conversation captures why, even as the headlines faded, The Strokes still matter.