Julian Casablancas, one of the leading lights of the punk revival scene, has gone pop! And electronica, and soul, and country… All these genres and more are touched on in Phrazes for the Young, the first solo record from the man of Strokes fame. While the album lacks cohesiveness, it has no shortage of unpredictability; this is not a safe record.
The pared-down stylings of Is This It are almost completely abandoned here in favour of layered, intricate arrangements, with swathes of synthesisers and even a horn section (on closer “Tourist”). Guitar-pop and synth-pop alternate and merge, while electronic rhythms are never far away. The results are mixed.
“Out of the Blue” kicks things off in style, offering a supremely catchy slice of Ramones-y pop-punk complete with the New Yorkers’ trademark contrast between sunny melodies and dark lyrics. “Left & Right in the Dark” continues things in a similar poppy vein, with a great ‘Wake up’ vocal hook. “11th Dimension”, despite being the album’s lead single, is nowhere near as engaging, falling into the trap of repetitiveness.
After this the album takes an experimental turn. “4 Chords of the Apocalypse” is an odd piece of plastic soul that fails to convince, while “Ludlow St.” is even odder, with an avant-garde intro morphing into a country shuffle with an occasional jarring syncopated beat thrown in – “Nobody’s Child” remixed by Modeselektor. “River of Brakelights” is excellent, managing to fit dark, skittering electronica and soaring Strokes-y choruses into the same five minutes.
Following this peak, Phrazes for the Young goes downhill: the synthy “Glass” is pleasant enough but monotonous, while “Tourist” is largely unremarkable, despite boasting an ear-catching combination of contrasting beats.
But all criticisms aside, Phrazes showcases a Julian Casablancas who has lost neither his creative drive nor his ear for a good melody, ready to challenge and to experiment. What’s next?
