The Strokes
Is This It
RCA
German social theorist Walter Benjamin's
landmark essay "The Work
of Art in the Age of Mechanical Reproduction" argues that an original piece of artwork possesses
an aura of importance that a reproduction cannot. It seems like an obvious concept, that an original
is more valuable than an imitation, but the buzz surrounding the Strokes hints that some people
prefer prints to Picassos.
The Strokes are the New York-based quintet currently slouching in the band-of-the-moment throne.
Hyped incessantly by the British music weekly NME,
in the matter of three months and one three-song EP they evolved from yet another '70s
proto-punk-influenced act to the latest Saviors of Rock and Roll.
But as Veruca Salt and Jonathan Fire*Eater can attest, too much hype can be a bad thing. Buzz
builds until fans glaring "prove yourself" comprise a band's entire audience. The Strokes have gotten
more press and a bigger promotional push ("Hear the band of the future, today!") than any group in
recent memory, which could hurt them. The initial excitement generated by five youngsters
(oldest Stroke: 22) mimicking rock royalty has vanished. Instead, their every movement registers
like a seismic wave with the weight of the expectations heaped upon them. Even the title of the
group's debut full-length, Is This It, turns from a coy proposition to an all-out war cry,
considering the buildup.
Meanwhile, the music that has garnered this attention is good, but not great. Singer Julian
Casablancas' muffled vocal does a fine job of imitating Lou Reed and Iggy Pop, and tracks like
"Last Nite" and "The Modern Age" (both found on the group's debut EP) aptly recall the grime and
strut of 1970s New York. But there is little off Is This It that isn't simply an homage.
Even the melody from the Spinners' 1980 hit "Working My Way Back to You/Forgive Me, Girl" is lifted
note-for-note for the Strokes track "Soma." Despite the unoriginality, however, the songs are
bouncy and fun, even if the album as a whole slightly drags.
Problem is, rock and roll is all about who came first. The greatness of Elvis will always carry
an invisible asterisk for the countless country and blues performers from whom he copped his moves,
songs and style. Rightly or wrongly, there is a rock canon, one that adores the Velvet Underground
because their music could be so beautiful and harsh, but more importantly because they did it first.
To quote Benjamin's "Work of Art...": "Even the most perfect reproduction of a work of art is
lacking in one element: its presence in time and space, its unique existence."
The Strokes cannot overcome this. They aren't even a perfect reproduction of the Velvet Underground,
the Stooges or Television, despite their murky production style and appearance. The flipside, however,
presents the possibility that this is their time, just like Nirvana's moment was in 1991. Sometimes
a style of music, no matter how derivative, comes seemingly out of nowhere and clicks with the
public. But seemingly is the key word. The adage that there is nothing new under the sun is correct,
but the good stuff seems to hide under rocks, or in garages.
But even if the Strokes are rising rapidly at the perfect time, the music needs to be strong
enough to support that rise, and, for the most part, it is. The aggressive yet minimal
instrumentation and well-constructed songs certainly help Is This It emerge in an
overcrowded music market. But can they live up to the expectations of an over-eager rock world?
The band says it best on "Take it or Leave it," the album's final cut, "We're gonna let you down."
— Yancey Strickler (ystrickler@yahoo.com)
