#julian casablancas icon

[brooklyn-bridge-to-chorus]

[thendhasnoooend]

the strokes on their first uk tour in 2001.

[fancytokyo]

[filess]

[talkingadult]

…Julian???

[grimeybones]

Less we forget this absolute slay of a picture.

[captainrayzizuniverse]

finally i got to capture it at the right time, in the right frame.

[nekupilled]

Music HC’s for the seven

- I’m gonna start with Jason, who would LOVE britpop (even if it’s not even pop? It’s rock idk what they we on) he would like listening to Pulp and Blur specifically, got in an argument with Percy when he opened some britpop to him and Percy said that Oasis sounded better. Percy got him the Blur: The Best Of CD, but didn’t manage to give it to him.

- Secondly, Annabeth. I think she would know most rock music (thanks to Thalia and Percy) but would wonder more towards the British side. Can see her listening to the Smiths, the Beatles, Radiohead, REM and some recent Arctic Monkeys that Piper made her listen to.

- Piper. I think she’d have the Indie Girl starter package but would listen to anything. Actual diva. Iconic in so levels. Mainly some Gorlillaz, Mitski, Hozier, Arctic Monkeys, (Percy sometimes joins in on their earlier albums, but says that the hanging out in the bar while smoking cigs in the bathroom vibe isn’t really for him) .

- Percy. God he’d be so annoying about it. ROCK MUSIC SNOB. This guy is the single most pretentious gatekeeper you’ve seen. Nicest guy you’ll ever meet suddenly gets so ruthless in mere seconds. Probably walks up to people with band tees to ask them to name three albums. Calls people fake fans, had a man crush on Julian Casablancas ( Annabeth questions that sometimes, he was too earnest while he said that he does has a chance when he got divorced in 2020.) Anyway, Nirvana, (he accidentally called Magnus ‘Kurt Kobain on Annabeth’s side’ once) the Strokes, The white Stripes, Led Zeppelin.,,

- Percy didn’t really mention something about his love for music until him and Annabeth started dating, and was REALLY nervous about it, opening songs and then scrambling to open something else, something better, Annabeth once recommended that he should hang out with the Apollo cabin more, but he demanded that no one aside from her should know this, Annabeth later on learns that Gabe made fun of the music he listened to, and was scared to ramble about it. He taps his fingers to a desk in the rhythms of the songs he likes to calm himself down in class.

- Piper had an AM tumblr 2014 phase, thought he had a crush on Alex Turner, turns out it was on Alexa Chung. She bought Annabeth posters and pins for her birthday, and persists on that Percy should learn to do guyliner so he looks more ‘aesthetic’, Percy doesn’t like it, but goes anyway to spend time with Piper.

[cherrygirlystuff]

Indie Sleaze Icons: Influential Figures Who Defined the 2010s Scene 🎸

Hey babe, let’s take a little trip back to the chaotic, glittery, and oh-so-cool world of the 2010s indie sleaze scene. 🌟 This era was all about raw energy, edgy fashion, and a carefree attitude that was perfectly captured by a few iconic figures who basically defined the movement. From musicians to fashion icons and cultural trailblazers, these are the people who made indie sleaze what it was—and why we’re still obsessed with them today. Ready to meet your indie sleaze icons? Let’s go!

1. Alexa Chung: The Ultimate Indie It-Girl

Let’s start with the queen herself, Alexa Chung. She was the epitome of indie sleaze style—always effortlessly cool, with that perfect mix of polished and grungy that we all tried to replicate. From her tomboyish charm to her signature messy hair, Alexa embodied the indie sleaze aesthetic in every way.

Fashion Influence: Alexa’s style was all about mixing vintage pieces with high fashion. Think oversized band tees paired with skinny jeans, Peter Pan collars with leather jackets, and of course, her signature Chelsea boots. She made it look like she just threw everything on in two minutes and walked out the door looking like a rock star.

Cultural Impact: Beyond her style, Alexa was everywhere during the indie sleaze heyday—front row at fashion shows, hosting TV shows, and just generally being the coolest girl in the room. Her influence on the era is undeniable, and she’s still an icon we look to for style inspo today.

2. The Strokes: The Soundtrack of a Generation

You can’t talk about indie sleaze without mentioning The Strokes. Their music was the soundtrack of the scene—gritty, raw, and full of that reckless energy that defined the era. Julian Casablancas and the rest of the band embodied everything that indie sleaze was about.

Musical Influence: With their debut album Is This It, The Strokes brought garage rock back into the mainstream, influencing countless other bands and setting the tone for the indie music scene of the 2000s and 2010s. Their sound was simple yet powerful, with catchy riffs and Julian’s signature drawl that made you want to grab a drink and dance all night.

Style Impact: The Strokes also set the style standard for indie sleaze. Their look was all about skinny jeans, leather jackets, and messy hair—basically the uniform of the era. They made dressing down look cool, and their influence can still be seen in fashion today.

3. Agyness Deyn: The Rebel Model

Next up is Agyness Deyn, the model who broke all the rules and became a fashion icon in the process. With her androgynous look, platinum blonde hair, and punk-rock attitude, Agyness was the face of indie sleaze fashion.

Fashion Influence: Agyness was all about mixing high fashion with street style. She’d pair a designer dress with Doc Martens, or rock a tailored suit with a band tee underneath. Her style was fearless and unpredictable, making her one of the most exciting figures of the indie sleaze era.

Cultural Impact: Beyond fashion, Agyness was a symbol of the indie sleaze spirit. She was bold, unapologetic, and always ahead of the curve. Her influence on the fashion world is still felt today, and she remains a symbol of the rebellious, carefree attitude that defined the era.

4. Karen O: The Indie Rock Goddess

Karen O, the lead singer of Yeah Yeah Yeahs, was another powerhouse of the indie sleaze scene. Her wild stage presence and eclectic style made her a standout figure in the world of indie music and fashion.

Musical Influence: Karen O’s voice and energy were electric. Tracks like “Heads Will Roll” and “Maps” became anthems of the indie sleaze movement, with their mix of punk rock edge and emotional depth. Her performances were legendary—full of raw emotion and untamed energy that captured the essence of the era.

Style Impact: On stage, Karen O was a fashion icon in her own right. She was known for her daring outfits—think neon bodysuits, metallic dresses, and crazy headpieces. She wasn’t afraid to push boundaries, and her style inspired a generation to embrace their wild side.

5. Sky Ferreira: The Pop Rebel

Sky Ferreira burst onto the scene with her edgy pop sound and grungy style, quickly becoming a darling of the indie sleaze crowd. She was the perfect mix of pop princess and rock rebel, with a look and sound that perfectly captured the contradictions of the era.

Musical Influence: Sky’s music was a blend of pop, rock, and electronic influences, with lyrics that were both vulnerable and defiant. Songs like “Everything Is Embarrassing” and “You’re Not the One” became indie anthems, with their catchy hooks and dark undertones.

Style Impact: Fashion-wise, Sky was all about messy hair, smudged eyeliner, and a wardrobe that mixed glam with grunge. She made dressing down look effortlessly cool, and her style continues to inspire today’s generation of indie kids.

6. Dev Hynes (Blood Orange): The Genre-Bending Innovator

Dev Hynes, also known as Blood Orange, was a key figure in the indie sleaze music scene, known for his genre-bending sound and eclectic style. His music pushed boundaries, blending elements of R&B, pop, and indie rock to create something entirely new and fresh.

Musical Influence: Dev Hynes was a prolific songwriter and producer, working with everyone from Solange to Florence Welch. His solo work as Blood Orange was equally influential, with albums like Cupid Deluxe and Freetown Sound becoming staples of the indie music scene.

Style Impact: Dev’s style was just as eclectic as his music. He was known for his mix of high fashion and streetwear, often seen in oversized blazers, vintage tees, and statement accessories. His look was as unique and boundary-pushing as his sound.

Final Thoughts, Babe: The Legacy Lives On

The indie sleaze scene of the 2010s was a magical time—full of raw energy, fearless fashion, and unforgettable music. These icons weren’t just influencers; they were the heart and soul of a movement that defined a generation. And while the indie sleaze era may have officially ended, its influence lives on in today’s fashion, music, and culture.

So next time you throw on a vintage band tee, smudge on some eyeliner, and blast The Strokes, know that you’re channeling the spirit of these indie sleaze legends. Keep the vibe alive, babe, and let’s celebrate the icons who made it all happen! 🎉

[sucknsee]

ᡣ𐭩ྀིྀི₊ ⊹ iconic

[kikuism]

wanted to talk about the songs i'm currently hooked on, esp since for once they're all english songs and i can actually say something other than 'ooh nice sounds!'

barbarism begins at home—the smiths: the guitar and bass riff in this is insaneeee and the way he's yelping??? crazy. one thing i really like about the smiths is how simple their lyrics are, you don't need a phd trying to figure out what they're saying. 'a crack on the head is what you get for not asking, a crack on the head is what you get for asking' well yes barbarism does begin at home! i've always loved the guitarwork in the smiths but this was the song that made me delve deeper into johnny marr’s work .... he's tooooooooo good

i want the one i can't have—the smiths: the yearning in this song makes me crazy... 'he killed a policeman when he was 13 and somehow that really impressed me', 'a double bed, a stalwart lover for sure, these are the riches of the poor', 'and if you ever need self validation just meet me in the alley by the railway station, it's all over my face' hello?????@+$+_

some girls are bigger than others—the smiths: the guitar riff in this song is so light and pretty, downright angelic, and then the lyrics are BOOBS! they were so funny for this. i genuinely cannottttt stop listening to this it's so addictive. THE RIFF. and why does it suddenly get soooo romantic at the end: send me the pillow, the one that you dream on, and i'll send you mine???? what the fuck. the outro lasts a full minute and i listen to it every time because the riff is that gorgeous

bigmouth strikes again—the smiths: the iconic joan of arc lyric <3 another sillay song....the imagery is so wacky. 'and as the flames touched her roman nose her walkman started to melt'??? and it just Sounds great too ughhhh another excellent guitar riff.... they're really unmatched when it comes to that funky addictive rock sound....the high pitched backing vocal is also so fun.

partners in crime—the strokes: what are they talking about <3 but it sounds sooo good esp the ending ohhh!! for me the strokes and the smiths are on opposite ends of the spectrum in that their lyrics aren't as clear but the sound is sooo good. i also love his voice in the higher register i love when a guy's voice gets higher in pitch i must say that's what makes the smiths delightful as well

under cover of darkness—the strokes: for me this is a classic rock song <3 like it almost makes me smile when the chorus kicks in. really love that slight gritty texture in his voice at 'are you okay?' and love how it's a long note too it scratches an itch in my brain

ode to the mets—the strokes: the moody wistful rock ooooohhhh yeeeaahhhh. the way the drums come in it's soooo good. the gritty texture on his voice in 'i needed you there, i didn't know'. it sounds so angsty i love it

instant crush—daft punk: this is ear candy for me can you believe this is my first daft punk song. it's so funky and fun and ofc julian casablancas's high notes and i love how the effect on his voice is just right without being overdone it's so great, my favorite bit is 'one thousand lonely stars hiding in the cold'

one way trigger—the strokes: as a falsetto lover this is music to my ears lmao and the ending is sooooo!!!! i don't wanna be in there with you i don't wanna be in there without your loving either

love you to—the beatles: when i heard the sitar my eyes bugged out like in tom and jerry.....that's sooooo cunty of them. i'm obsessed with the hypnotic rhythm of this song. 'each day just goes so fast, i turn around it's passed' real.....

taxman—the beatles: such a fun song omg.....'if it gets too cold i'll tax the heat if you drive a car i'll tax the street if you take a walk i'll tax your feet' these are lyrics for the People! they were so cunty for namecalling the taxmen in this song...i wonder how mr. wilson and mr. heath felt about it

sun king—the beatles: the hypnotic rhythm of this song is sooooo good like it just scratches my brain in such a nice way, especially when they start blabbering gibberish, that's my fave part <3 it's actually soooo good like it literally doesn't make sense

[foundmysilence]

Daft Punk: Random Access Memories (10th Anniversary)

Rating Below

The (maybe) final installment into Daft Punk’s discography, Random Access Memories is a deluxe edition of their 4th studio album to celebrate the albums 10th year in circulation. It takes what was already a fantastic album with hits like “Get Lucky”, “Instant Crush”, and “Doin’ it Right” and amplifies it twofold. Adding unfinished and demo versions of certain songs, as well as commentary on the production of the album.

But with all of this, we were blessed with a final song from the iconic French duo. “Infinity Repeating” does not seem to follow the tone or motifs that are shared throughout the rest of the album, but the impact that this song had on long time fans and new fans alike could not be understated. It felt like a proper final goodbye for the duo.

Musically: 8/10

Lyrically: 7/10

[ijustwantedtobeoneofthestrokesuk]

Year Zero

London/New York

Rough Trade Records is an iconic and influential record label founded in 1978 after the record store, of the same name, based in London had become a key part in the underground punk and reggae scenes. The independent label released records by bands in the counterculture that the major labels wouldn’t touch. These releases weren’t big sales, Rough Trade was about the music, not the money. 

After a few slow years the label struck gold in 1983 when they signed The Smiths, who, like the label, weren’t for the mainstream, but they became a huge cult band, their success revived the label. Good times always end and the future for the label was uncertain at the dawn of the new century. 

Well, that was until founder Geoff Travis received a demo from New York in late summer of 2000. Everything changed when he pressed play. He wasn’t sure if it was just him, he played it to his team, they couldn’t believe what they were hearing either, it sounded so new, but old at the same time. This demo wasn’t just any demo, it was 3 songs by The Strokes, 3 classics, The Mordern Age, Last Nite and Barely Legal, which would become The Modern Age EP.

Geoff and his colleague Jeannette went over to New York just days after listening to the demo. They expected to find them playing to hordes of fans but the gig in New Jersey, on a Saturday night was virtually empty, however, they were still exhilarating. A label in London had just discovered New York’s best-kept secret, so secret New York didn’t even know about The Strokes.

The label played a risky game, instead of giving the band a record deal while they were their secret, they showed the band why they should sign with them. They teamed up with the NME to create some hype and paid for the band to tour the UK. After this, every label in the world wanted The Strokes but they trusted Rough Trade and the deal was done for their UK releases, then they signed with RCA for the rest of the world.

The first time the UK heard The Strokes was when Last Nite featured on a free CD with the NME and the buzz started, The Modern Age EP followed the next week, then a 16-date, sold-out UK tour began two days later. The hysteria for a band New York wasn’t bothered about was built from a marketing strategy by Rough Trade and the NME.

Blaine Harrison (Mystery Jets) “My best mate at school at that time was a guy called Chris. He was that guy who knew every cool new band before anyone else. Everyone knows a Chris. He had a copy of The Strokes Modern Age EP on CD which he let me take home to copy onto cassette. It sounded like The Velvet Underground but like if they were from the future. And they wore blazers! Which meant it was easy to copy their look if you were still at school. It felt like the beginning of something fucking exciting.” 

Dominic Masters (The Others) “I stumbled across The Strokes when I went to see …And You Will Know Us by the Trail of the Dead at The Astoria as part of an NME tour and managed to catch their last few songs. I thought they sounded similar to Modern Lovers/Television & The Velvet Underground. I subsequently was lucky enough to get a ticket to see them headline at Heaven in London.  

Fab the drummer was injured so they had a stand-in drummer on the night. I spoke to Fab briefly outside Heaven while having a cigarette. He was reassuring fans that The Strokes were gonna play. They had Moldy Peaches as the support band and Heaven was packed with various stars of the day including Noel Gallagher and Kate Moss, all giving their approval in their attendance. You could tell the crowd was pretty excited.” 

Bill Ryder-Jones (The Coral) “We collectively hated them, they wore ripped jeans and Converse and I think in truth, they intimidated us but yeah, I didn't allow myself to enjoy how amazing they were at the time.”  

The earliest version of The Strokes dates back to 1997 when school friends Julian Casablancas, Nick Valensi and Fab Moretti started playing together, by the end of the next year they became a 5 piece when Nikolai Fraiture and Albert Hammond Jnr. (both friends of Julian) joined the trio. The teens would spend hours practicing and drinking together before playing their first gig at The Spiral in September 1999, then they would become regulars on New York’s circuit, featuring at the Luna Lounge, HiFi Bar and The Mercury Lounge (where promoter, Ryan Gentles, who went on to form Wizkid Management and manage the band worked), however they were never part of the New York scene which was small and eclectic.   

The rest of the New York bands knew each other, they hung out at the same bars and shared the same stages, despite sounding different to one another but they didn’t know The Strokes. After being discovered by Rough Trade the inner circle saw them as rich boys who went to London and got a record deal. There was a lot of jealousy towards them, wanting them to fail, until they heard them and realised how good they actually were and The Strokes gave the New York scene opportunities that weren’t there before.  

Producer Gordon Raphael saw the band at the Luna Lounge and they recorded The Modern Age EP raw and live, capturing that energetic, youthful excitement. 

Gordon “I always wanted to leave Seattle once I was writing my own music because at the time, New York and LA were the only places in the USA with record industry infrastructure. I couldn't see myself surfing and driving a Mustang around LA, but I could envision myself taking the subway and being cool with the hardcore New Yorkers, after all, I was born there. 

New York in the late ‘90’s was a time of acid jazz, jungle, pop, hip hop and drum ’n bass, as well as a DJ lounge scene in the East Village night spots. There were arty and interesting bands, and even a few really great rock bands (Honky Toast for example) but that scene was small compared to the others. 

I went to Luna Lounge to check out a party, and there they were. The Strokes agreed to come to my studio. I met the band and had them in my studio about 8 days later. Albert came to check out my studio first and he liked what he saw. The demo sessions became The Modern Age EP, and set the tone for everything I ever did with them, in many many ways. Julian was the composer, and the band were invigorating and embodying his melodies, riffs and rhythms. They all had a great deal to say all the time about everything musically, sonically and personally that was going on. A great trademark.  

Once I started really recording them, I noticed that I dug their music a lot, and that it contained elements of underground rock that I LOVED, and on top of that, they worked harder than anyone to get everything the way they wanted it. I also totally dug their musicianship, the lyrics, Julian's vocal vibe… and the compositional elements. It was fucking intense to be working with them because they needed as much concentration and teamwork from me as they did from themselves. A lot of mental energy and physical stamina were involved … always.

The amount of time we could spend recording songs became greater when Rough Trade came on board. They felt pressure to take advantage of the chance they had to do something with their music career. I was mostly having fun, and only feeling the intensity and effects of tiredness as the weeks went on… again, the high level of workload in the studio. Staying active and alert for long, long days. Is This It took 7 weeks to record. 

There were no Libertines, Franz Ferdinand or The Paddingtons when we made the EP and Is This It. Those came later. For me, as a lifelong rock ‘n’ roller, the NME and the UK were Jerusalem, the Holy Land of Led Zeppelin, The Rolling Stones, The Beatles and the place where Hendrix’s career took off. Nothing could have pleased me more to get that sensation of support from the UK. New Yorkers all felt the UK, in one way or another. Most aspired to go play there and check it out. 

When I moved to the UK The Libertines were just being signed to Rough Trade. I moved to London because it was ground zero for Strokes fans, so I was loved there and got tons of work recording bands… also going to parties!” 

NEXT CHAPTER

[talkingadult]

Whatever’s going on with the bass in Ode To The Mets hits just right omfg

[topperradio]

Brat and It's Completely Different but Also Still Brat Album Review

BRAT summer has bled into autumn with Charli xcx’s latest installment of the era, Brat and it's completely different but also still brat. Aitchinson (the non-PARTYGIRL surname of the Essex musician) has created a sprawling double-sided remix album with 18 features, merging indie legends and modern pop icons with upcoming digital stars. As the name suggests, the new remix album takes the original album and alters it almost beyond recognition. Still, each track maintains the album’s themes of success, fear of failing, and isolation. 

However, these changes are not wholly successful; but the album is raw, adventurous, and still so BRAT.

Almost every track on the album features a complete re-imagining of the source material, which can stand as their own piece of creation against the originals. They frequently take a specific section of the original track and base the remix on this snippet, expanding upon it in new and unforeseen ways. 

The most successful of these attempts (in the writer’s opinion) is the “Rewind” remix with Bladee. In other tracks where the lyrics “I must confess I’m under stress / The mirror leaves me unimpressed” sung by the Swedish rapper would elicit a laugh, I am drawn in by his earnest approach to the topic of fame. The song maintains the earworm nature of the original and continues the heavy discussion of the weight success places on artists and its transformative nature. 

The “So I” remix is also an incredible testament to the power of Charli xcx, SOPHIE, memory, and love. What was already one of the most touching tributes to the late electronic pioneer was transformed into a heartbreaking and inspiring whirlwind of sound. To hear Aitchinson recount her best memories with SOPHIE is one of the greatest gifts I have ever received as a long-time fan of both. This is additionally paired production by A.G. Cook and Aitchinson incorporates SOPHIE’s previous work and concludes with a sample of the unreleased track “HEAV3N SUSPENDED” – one of the last pieces of work SOPHIE showcased before her passing. 

These tracks underline the greatest strength of Brat and…, which is its ability to heighten the emotions of BRAT to new extremes. To echo Shaad D’Souza in her review, the album's guests are all celebrity advocates illustrating the pervasiveness of loneliness. Beautiful moments are created with the raw performances of Lorde, Caroline Polachek, Matty Healy, Bon Iver, and the Japanese House, with each artist showing vulnerability.

The only time it proves to be clunky is the performance of The Strokes’ Julian Casablancas on the Mean girls remix. While the original did not provide the most substantive material for Casablancas to work with – it is still sad to see the infectious piano and instrumental butchered with a sample of “Owner of a Lonely Heart” by Yes. Casablancas muses on his failed marriage, and it reads less like creative expression as an outlet and more like being singled out at a family function by a drunk uncle. 

At other times, the album drops the need to shed its secrets and embraces full hedonism. As it was on the original album, tracks like “B2b featuring Tinashe”, “365 featuring Shygirl” and “Club classics featuring bbtrickz” serve as foils to the songs highlighting the downside of fame. Yes, partying is fun and it's also pretty great being famous and hot. Aitchinson and her crew should celebrate, we all need releases from the soul-crushing weight of living in our modern world.

Laissez les bons temps rouler! Vive le BRAT!

As Aitchinson mentioned in the early stages of the album’s rollout, BRAT is “closest in its ethos to Pop 2.” For new listeners of Charli xcx, Pop 2 was a mixtape that served as Aitchinson’s first major foray into experimental music. Like BRAT, it balanced partying, campy references, tears, cars, robots, and vulnerability – and it was anything but seamless. But, a lot of its charm came from its reckless and unabashed attempt to reinvent pop music. BRAT and its subsequent new versions are ambitious and continue to show Charlotte Aitchinson’s taste-making ability.

2024 has brought Charli xcx to new levels of fame that would’ve been incomprehensible even in 2022. This newfound exposure has not stifled her cult status, and she has proven that success has changed her – but not in a way that is detrimental to her career. It is evident that Aitchinson is not chasing TikTok hits, but her success on the platform can be a potential catalyst for greater taste in our brain-rotted generation. 

By Tate Burchfield