...
When 'Room On Fire' was eventually released, critics didn't take to it in the same way as the band's debut. It didn't receive too many put-downs in terms of quality, because the second effort is actually just as good, and maybe even better than, their first. The reason it wasn't welcomed ... Read review
Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album.Room on Fireis an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise asIs T...
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Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album. Room on Fire is an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise as I...
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Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album. Room on Fire is an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise as Is This It? Will they be able to capitalise on their wiry winning formula but avoid exhausting it? And can Julian Casablancas be convincingly offhand when we now know how much effort he makes to sound so disinterested? As a result, Room on Fire isn't an entirely successful album, but it's certainly a compelling one--the testament of five handsomely talented men struggling to work out what should happen next. At worst, songs like "You Talk Way Too Much" are paranoid retreads where the Strokes, having minted such a precise and appealing sound, seem doomed to repeat it in progressively more joyless ways. But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection of chiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think of Room on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen. --John Mulvey
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Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album. Room on Fire is an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise as Is This It? Will they be able to capitalise on their wiry winning formula but avoid exhausting it? And can Julian Casablancas be convincingly offhand when we now know how much effort he makes to sound so disinterested? As a result, Room on Fire isn't an entirely successful album, but it's certainly a compelling one--the testament of five handsomely talented men struggling to work out what should happen next. At worst, songs like "You Talk Way Too Much" are paranoid retreads where the Strokes, having minted such a precise and appealing sound, seem doomed to repeat it in progressively more joyless ways. But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection of chiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think of Room on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen. --John Mulvey
Postage & Packaging:Free! Availability:Usually dispatched within 1 to 3 weeks...
Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album. Room on Fire is an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise as Is This It? Will they be able to capitalise on their wiry winning formula but avoid exhausting it? And can Julian Casablancas be convincingly offhand when we now know how much effort he makes to sound so disinterested? As a result, Room on Fire isn't an entirely successful album, but it's certainly a compelling one--the testament of five handsomely talented men struggling to work out what should happen next. At worst, songs like "You Talk Way Too Much" are paranoid retreads where the Strokes, having minted such a precise and appealing sound, seem doomed to repeat it in progressively more joyless ways. But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection of chiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think of Room on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen. --John Mulvey
Postage & Packaging:Free! Availability:Usually dispatched within 24 hours...
Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album.Room on Fireis an overwhelmingly anxious record, where the band's dilemmas are therefor everyone to hear: should they make another record as concise asIs This It? Will they be able to capitalise on their wiry winning formula but avoid exhausting it? And can Julian Casablancas be convincingly offhand when we now know how much effort he makes to sound so disinterested? As a result,Room on Fireisn't an entirely successful album, but it's certainly a compelling one--the testament of five handsomely talented men struggling to work out what should happen next. At worst, songs like "You Talk Way Too Much" are paranoid retreads where the Strokes, having minted such a precise and appealing sound, seem doomed to repeat it in progressively more joyless ways.But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection of chiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think ofRoom on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen.--John Mulvey
Postage & Packaging:£1.21 Availability:Usually dispatched within 1-2 business days...
Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album.Room on Fireis an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise asIs This It? Will they be able to capitalise on their wiry winning formula but avoid exhausting it? And can Julian Casablancas be convincingly offhand when we now know how much effort he makes to sound so disinterested? As a result,Room on Fireisn't an entirely successful album, but it's certainly a compelling one--the testament of five handsomely talented men struggling to work out what should happen next. At worst, songs like "You Talk Way Too Much" are paranoid retreads where the Strokes, having minted such a precise and appealing sound, seem doomed to repeat it in progressively more joyless ways.But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection ofchiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think ofRoom on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen.--John Mulvey
Postage & Packaging:£1.21 Availability:Usually dispatched within 1-2 business days...
Rarely has the burden of expectation weighed so heavily as it does on the Strokes' second ... more
album.Room on Fireis an overwhelmingly anxious record, where the band's dilemmas are there for everyone to hear: should they make another record as concise asIs This It? Will they be able to capitalise on their wiry winning formula but avoid exhausting it? And can Julian Casablancas be convincingly offhand when we now know how much effort he makes to sound so disinterested? As a result,Room on Fireisn't an entirely successful album, but it's certainly a compelling one--the testament of five handsomely talented men struggling to work out what should happen next. At worst, songs like "You Talk Way Too Much" are paranoid retreads where the Strokes, having minted such a precise and appealing sound, seem doomed to repeat it in progressively more joyless ways.But there are moments when Casablancas nudges his band into new, promising directions. "12:51" seems malnourished on first listen, but its sulky, understated twists soon turn out to be memorable. "Reptilia", meanwhile, showcases the fabulous--and teasingly underexploited--guitar playing of Albert Hammond and Nick Valensi, being a collection of chiming riffs and tumbling solos that suggest the Strokes should allow themselves the freedom to rock more often. Oh, and "Under Control" is a dream--specifically, one where the Smiths are playing "Tracks of My Tears". Best think ofRoom on Fire, then, as an album where the Strokes plot their escape from the predictable, but are a little too cautious to make a proper getaway. Courage, gentlemen.--John Mulvey
Postage & Packaging:£1.21 Availability:Usually dispatched within 1-2 business days...
Advantages: The same brilliant music as the fantastic debut; great vocals, melodies, background - all superb Disadvantages: Not inventive enough to please critics, but this doesn't harm the album.
When The Strokes came to record their second album, they must have felt quite some pressure. The superb debut had won glowing reviews across the board, and the task of matching it's quality, let alone exceeding it, was surely gargantuan. Not only that, but modern bands are expected to mature and develop their sound in very short periods of time. They couldn't merely improve on 'Is This It?' - they had to actually change the formula, and make a clear ... ...acclaim.
When 'Room On Fire' was eventually released, critics didn't take to it in the same way as the band's debut. It didn't receive too many put-downs in terms of quality, because the second effort is actually just as good, and maybe even better than, their first. The reason it wasn't welcomed quite so warmly is that it was quite similar to the first album, and this fell short of expectations. The critics, of not the fans, wanted ... more
When The Strokes came to record their second album, they must have felt quite some pressure. The superb debut had won glowing reviews across the board, and the task of matching it's quality, let alone exceeding it, was surely gargantuan. Not only that, but modern bands are expected to mature and develop their sound in very short periods of time. They couldn't merely improve on 'Is This It?' - they had to actually change the formula, and make a clear progression, if they wanted to achieve anything like the same acclaim.
When 'Room On Fire' was eventually released, critics didn't take to it in the same way as the band's debut. It didn't receive too many put-downs in terms of quality, because the second effort is actually just as good, and maybe even better than, their first. The reason it wasn't welcomed quite so warmly is that it was quite similar to the first album, and this fell short of expectations. The critics, of not the fans, wanted The Strokes to push boundaries, revolutionise the industry. Instead, they received 'Is This It?' Mk 2.
Once the initial criticism over their lack of progression died down, people began to realise that, actually, they had another gem on their hands. With the critics moving on to the next band, listeners realised that there was no need for progression; the band's first album had been incredible, and this was more of the same brilliant music. The critics may not have warmed to "Room On Fire', but the average listener appreciated it for what it is - a superb rock and roll album.
Track By Track
1) What Ever Happened? - The album picks off where the band's debut left off, with Casablanca's drawling, strained vocals, clever, bouncy percussion, relentless rhythms, and charming melodies. This opener is on the subdued side, with a slightly sad tune, and passionate vocals dripping with emotion, along with downbeat lyrics. It is instantly recognisable, however, and sets up the rest of the album well. 8/10
2) Reptilia - Wow. From the opening riff, you know that this is going to be a great song. In fact, it's possibly still the best thing the band have ever written. The guitar work is simply brilliant, managing to be punky, melodic, and energetic simultaneously. The vocals are great, particularly when the chorus arrives, and the guitar solo is similarly fantastic. A stunning track. 10/10
3) Automatic Stop - A fairly simple but ridiculously catchy guitar riff plays throughout the third track, but drifts into the background against the great bass and percussion work. The song builds well, from calm verses into melodic, euphoric chorus. The lyrics are very good, and Casablanca's vocal performance is as good as ever - he doesn't seem to miss a beat all album. Another great track. 9/10
4) 12:51 - The fourth track sees the band in more laid-back fashion, in a similar vein to 'Hard to Explain' from their debut. It is also one of the more inventive songs on the album, with a definitely different sound to it's neighbours. It is still The Strokes, though - there may not be much progression in their sound on the album, but there are glimpses. Short but sweet, and another excellent, if calmer, track. 9/10
5) You Talk Way Too Much - The spiky riffs return on track number 5, as do the passionate vocals and powerful energy. Interestingly, though, Casablanca's saves his more emotive singing for the verses, instead of the more relaxed, reserved chorus. It is a clever effect, and works well. The guitar work really shines on this song, and while the rhythm guitar becomes repetitive when exposed, the melody is solid, and makes another good track. 8/10
6) Between Love And Hate - One of The Strokes' defining features is the prominence of the bassline in their songs - it can be quite clearly heard on this track, in particular, and really adds depth. The drums also deserve special mention, if only for their restraint - they are rarely given the chance to come alive, but drummer Moretti dutifully keeps the clever, interesting rhythms ticking over. This track also contains a nice guitar solo, but what really stands out is the way everything fits together so beautifully, turning an ordinary song into something more enjoyable. 8/10
7) Meet Me In The Bathroom - The pace speeds up a little as we reach the seventh track, and the guitarists are given slightly more free reign, with detailed riffs and beautiful, memorable melodies. As ever, though, the whole band are well polished. Casablanca's sad, almost wistful vocals create a slightly downbeat atmosphere, but the spiky guitars carry cheerful tunes to bring things up a little. Good, but not electrifying. 7/10
8) Under Control - A slower song, with a very relaxed, laid-back feel to it. I particularly like the drum solos that introduce the beginning of the song, and verses. The guitars are withdrawn a little, and while their lack of prominence does reduce some of the song's crackle and energy, it does allow every aspect of the track to blend together, and create that wonderful harmony that shows the band at their best. 8/10
9) The Way It Is - Thankfully, the next track produces a nice shot of adrenaline, bringing out the band's energetic side. Casablanca's passion begins to shine through once more vocally, after a few restrained efforts. The guitars are brought back to the fore, but everything still has a sense of fitting together - it's a well balanced track. Very good. 9/10
10) The End Has No End - Simple, almost detached guitar notes provide a glimpse of the main melody during the verses, before it evolves into a fully-blown riff. This track actually builds very nicely, starting off quite sedately, but reaching a thrilling climax, beginning after the excellent, albeit short, solo, which sees screaming, strained vocals, and a brilliant sound that is impossible not to be swept up in. 9/10
11) I Can't Win - The closer possesses a cleaner sound than the previous two tracks, and is probably better for it, because it allows the more subtle elements, such as the bass to be heard more clearly, and allows the listener to focus on the fantastic melody - one of the best on the album. The faster pace also helps move things along and ramps up the electricity of the song. The guitar solo is one of the album's longest, and best, and Casablanca's vocals are controlled yet emotional. A great song to finish on. 9/10
Looking at the album now, it's definitely a case of 'more than the sum of it's parts'. This is an album that I love listening to, but apart from Reptilia, there are no stand-out tracks. Everything flows together very nicely, and the band give a real impression of togetherness and unity. Even on slower songs, there is an energetic undercurrent that cannot be held back, and it is infectious, really adding to my personal enjoyment of the album.
It probably isn't quite as good as 'Is This It?', but it isn't far away, and despite initial critical reaction, i think there is a development in the band. The same ingredients are used, but the flavour is ever so slightly different. It isn't really an issue, anyway; the first album was so good, that it's overly icky to complain when more of the same is delivered, and the band's third album would see greater experimentation, and was ultimately weaker for it.
Make no mistake, 'Room On Fire' is a top-notch album, and if you enjoyed The Strokes' debut, then you will definitely like this. The great melodies are still there. The energy hasn't been lost. Casablanca's vocals are just as brilliant, without any less passion, and the drums and bass are consistently excellent, and add an extra few layers to the songs. The band still sound like an incredibly tight unit, and you get the feeling that if any aspect of their current sound were missing, it wouldn't be the same. This is a great album, and is well worth a listen.
Advantages: All 11 tracks are amazing Disadvantages: The two year wait between albums
...to 2001’s big hit with Room On Fire almost 2 years to the day after the debut. The much anticipated album has now been released though and having had a few weeks of listening to it, I’ve finally decided what I actually think about it.
The album is a short punchy 33 minutes long and is produced by the same producer as the debut offering, Gordon Raphael. Of course it wasn’t all easy going, Raphael originally wasn’t meant to be producing and the band ... ...were unhappy with the finished product and rather than release something they considered weak they disposed of that recording, got Raphael involved and started work again.
The album really picks up where Is This It left off. The opening track “What Ever Happened?” starts the album the way it carries on. One thing about The Strokes is they certainly have a defined guitar driven sound and this one is no exception. The track opens with a fast drum ...
Andy.mack 22.11.2003 (22.02.2004)
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Ciao members have rated this review on average: very helpful Review of Room On Fire - Strokes (The)
Advantages: Brillianty Concise Disadvantages: Long wait between 2 albums
...diverse and measured improvement.
Room on Fire does exactly that. Is This It's? elaborate guitar riffs and crunching bass lines reminiscent of 1980s garage rock are cut back to provide a rawer and more exposed sound. The album is just over three minutes less than it's equally brief predecessor giving it a length of just 33 minutes. Despite this conciseness, Julian Casablancas, Fab Moretti, Albert Hammond Jr, Nick Valenski and Nikolai Fraiture create ... ...created by Hammond Jr and Valenski is snappy, agile and dynamic while the bullish, dynamic resonance of Morreti's drums create a blunt tone upon which the sleek, scraggy Casablancas places his distorted, inter-com style vocals.
"12:51," the albums first single is a glorious new wave, rock 'n' roll dance classic with keyboard-like guitar sounds and eclectic drum beat. Whereas the melodic "Under Control" is a bit of a "Strokes do soul," with ragged ...
MNorthWV6 16.06.2008
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Ciao members have rated this review on average: very helpful Review of Room On Fire - Strokes (The)
Advantages: It isn't rap Disadvantages: pessimistic theme and dodgy lyrics
The Strokes – Room on Fire
October 2003
£7.97 at Amazon
Whatever Happened
This song tumbles forward on bass, drums and guitar. Interesting guitar kicks in after the second verse with a melodic riff. It has a live quality filled with angst. It sounds cynical and describes disjointedly a nihilistic disappointment with relationships. The exact meaning of the lyrics could only ever be a puzzle without some background explanation. Who wanted to talk ... ...One has a sense that these are the thoughts of an ‘outsider’ in the true existentialist tradition with his, ‘Whose culture is this and does anybody know?’ He stands apart seeing, ‘Life is in chess,’ alone and convinced that his girlfriend doesn’t miss him. She seems to seek fame whilst he wants affection.
Reptillia
This starts with the one note fast repeating bass and a conventional 4/4 rock drum. Then it builds with tambourine and a guitar riff ...
FlameDruid 17.09.2004 (18.09.2004)
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Ciao members have rated this review on average: very helpful Review of Room On Fire - Strokes (The)
Advantages: You can put it on and leave it all day Disadvantages: Can't differenciate between tracks.
...Room On Fire the long awaited second album of The Strokes ( 1st album Is This It?) has finally hit the ears of fans and I think it's keeping us happy.
The album has a bit of an electronic sound and the lyrics although occassionally bitter,(see Between Love and Hate) are played to uplifting tunes. The sexy, monotonous voice of lead singer Julian Casablancas, is sometimes seen as a downside by old men (my father) but in my opinion it is brilliant ... ...It? then I definately recommend Room On Fire. In my opinion this follow up is better than its predecesor,although I'm sure there are many who'd disagree. However I'm sure one thing people won't disagree with is that the Strokes are the hottest thing around at the moment,just go to one of their live shows and you'll know what I mean.
You can get this album pretty much anywhere, but it's probably best to go to your typical scummy backstreet music ...
EmmaAdams 12.01.2004 (06.02.2004)
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Ciao members have rated this review on average: helpful Review of Room On Fire - Strokes (The)
Advantages: Great All Round Disadvantages: All Similar
This is a great album, but at first listen, it doesn't seem it. Once you have played through the album you will begin to realize it's full potential. In my opinion, this is a great improvement from their first album, "Is This It" which funnily is what I thought when I first heard it. Back onto this though, and as some people may argue that all the songs sound like each other, it's purely that most of these albums haven't got the same beat on each ... ...They have released two records from it so far, "12:51" and more recently "Reptilia" which charted at 19, a tad bit low if you ask me. I'll run through the songs on the album:
1. What Ever Happened? : With a catchy tune and opening singing sequence, and great guitaring, and a decent verse, this song is how any opening track should be. *** 8/10 ***
2. Reptilia : This is the second track to be taken from the album as I said aobve. With another good ...
andywood 02.04.2004
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Ciao members have rated this review on average: helpful Review of Room On Fire - Strokes (The)
Product Information for "Room On Fire - Strokes (The)" »
Product details
Title
Room On Fire
Performer
Strokes (The)
Genre
Rock & Pop
Sub Genre
Alternative
Release Date
20/10/2003
Recomended Retail Price
15.99 GBP
Original Release Year
2003
Label / Distributor
Rough Trade / PIAS UK/Sony DADC
Producer
Gordon Raphael
Pieces in Set
1
Studio / Live
Studio
Stereo
Stereo
Format
Performer
EAN
5050159813025
Additional notes
Album Notes
The Strokes: Julian Casablancas (vocals); Nick Valensi, Albert Hammond, Jr. (guitar); Nikolai Fraiture (bass); Fab Moretti (drums). Recorded at TMF Studios, New York, New York. After the hype--and subsequent backlash--over the Strokes' debut album, IS THIS IT, many fans and skeptics alike came to realize that the band's catchy, punk-pillaging rock ditties were, ultimately, very difficult to resist. Their eagerly anticipated follow-up, ROOM ON FIRE, is cut from the same vintage 1970s cloth, but added flourishes keep the album from sounding like a mere redux. "What Ever Happened" opens ROOM ON FIRE with a chiming, staccato guitar riff and kicks into the immediately identifiable Strokes swagger. However, while listening to Julian Casablancas's melancholy lyrics and the song's carefully crafted changes, it's clear that this is a maturing band that knows its strengths. This notion is further supported by the hard-charging "Reptilia," one of the group's finest tunes to date. And though the Strokes opted out of working with Radiohead producer Nigel Godrich, the concept of expanding their palette (even if only slightly) stuck, given the presence of keyboard sounds (on the gleefully Cars-like "12:51" and "The End Has No End") and reggae-influenced guitars (on "Automatic Stop" and "Between Love & Hate"). Although ROOM ON FIRE doesn't mark a radical musical departure for the band, the concise and consistently engaging album solidifies their status as skilled rock revivalists.
Album Reviews
Rolling Stone (12/25/03, p.110) - Included in Rolling Stone's "50 Best Albums of 2003" Rolling Stone (10/30/03, p.86) - 4 stars out of 5 - "...[One] of the best things about ROOM ON FIRE is that...the Strokes have resisted the temptation to hit the brakes, grow up and screw around with a sound that doesn't need fixing....This record was built for thrills and speed." Spin (12/03, pp.121-2) - "...The gambit pays off: ROOM ON FIRE is the rare album you could imagine rocking college radio and storming Clear Channel's barricades..." - Grade: A- Entertainment Weekly (10/31/03, pp.71-72) - "...There's still something undeniably appealing about the Strokes. They're raw and corrosive, yet surprisingly intimate..." - Rating: B Q (01/01/04, p.83) - Ranked #7 in Q's "The 50 Best Albums of 2003" Q (11/03, p.102) - 5 stars out of 5 - "...Everything a second album needs to be, it's like IS THIS IT but more emotional, more colourful, slightly better..." Mojo (01/01/04, p.60) - Ranked #4 in Mojo's "The Best of 2003" Mojo (11/03, p.124) - 4 stars out of 5 - "...This record is good. Thirty-three minutes and 13 seconds of bruised pop music. Tough, intense, no slack..." Uncut (01/04, pp.84-7) - Ranked #45 in Uncut's "Albums Of The Year 2003" Uncut (11/03, p.108) - 4 stars out of 5 - "...Once again 11 concise, usually thrilling songs filled with bewilderment, romance and a sense of climactic payback..." CMJ (11/17/03, p.8) - "...[Repaints] its predecessor as a promising first release, with potential to grow into something truly formidable....[the opening track] is arguably the Strokes' finest moment to date..."
Titles on disc 1
1.
What Ever Happened
2.
Reptilia
3.
Automatic Stop
4.
12.51
5.
You Talk Way To Much
6.
Between Love And Hate
7.
Meet Me In The Bathroom
8.
Under Control
9.
End Has No End
10.
Way It Is
11.
I Can't Win
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04/11/2003
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