{"id":1119,"date":"2026-07-28T20:38:32","date_gmt":"2026-07-28T20:38:32","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1119"},"modified":"2026-07-28T20:38:32","modified_gmt":"2026-07-28T20:38:32","slug":"charli-xcx-and-the-strokes-are-sort-of-making-rock-music","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1119","title":{"rendered":"Charli XCX and the Strokes Are (Sort of) Making Rock Music"},"content":{"rendered":"
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Last week, Charli XCX and the Strokes, twin pillars of a certain strain of disaffected, irony-drenched cool, each released new records that flirt with the idea of \u201crock music.\u201d In both cases, the deliberate garbling of genre feels like a pointed disavowal: rock music, in particular, has long been preoccupied with notions of authenticity and defiance. In the case of Charli XCX, the smart and funny hyperpop singer whose sixth album, \u201cBRAT<\/em>,\u201d became a multidimensional cultural phenomenon in 2024, she seems to be attempting to shake off an overdetermined, \u00fcbercommodified version of herself. On \u201cRock Music,\u201d the first single from \u201cMusic, Fashion, Film,\u201d her new album, and the follow-up to \u201cBRAT<\/em>\u201d (not counting a soundtrack she released this year, to the Emerald Fennell-directed adaptation of \u201cWuthering Heights\u201d), Charli sings:<\/p>\n

Read more The Kids Are Kind of All Right<\/a><\/p>\n

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I think the dance floor is dead
So now we\u2019re making rock music
Wow, I\u2019m really banging my head
I\u2019m really hurting my neck<\/p>\n<\/div>\n<\/blockquote>\n

<\/div>\n

Of course, \u201cRock Music\u201d is not \u201crock music\u201d in the traditional sense, though Charli\u2019s vocals are clipped, punkish, and dry, buoyed by a crunch of guitar. (Her sarcastic delivery of the word \u201cwow\u201d contains all the casual but devastating disdain of an angsty preteen.) Stylistically, the song is a twitchy mix of E.D.M. and grunge\u2014more akin to LCD Soundsystem than, say, Pearl Jam. In an Instagram post from May, containing some behind-the-scenes footage of its creation, she wrote, \u201ca video of me making a song called \u2018rock music\u2019 that is not actually rock music which is funny because i never said i was making a rock album.\u201d O.K.! One complication of being ultra-chic and eye-roll-y is that, after a while, it becomes impossible for your public to tell which end is up. Or, as John Updike once wrote, \u201cCelebrity is a mask that eats into the face.\u201d<\/p>\n

Mostly, \u201cMusic, Fashion, Film\u201d is ad hoc and confessional, undercooked in a way that feels both pleasing and purposeful. It contains just eleven songs and clocks in at around thirty minutes. Lyrically, the album is preoccupied with legacy, perception, and mortality. (The cover features a staid black-and-white portrait of John Cale, Marc Jacobs, and Martin Scorsese\u2014living titans of music, fashion, and film, respectively.) Its guitars are scuzzy and immediate, and the production, by Charli, A.\u00a0G. Cook, and Finn Keane, her longtime collaborators, is unpredictable and sometimes surprisingly visceral. \u201cMagic Metal Montana,\u201d one of the album\u2019s best tracks, is a tenderhearted paean to her friendship with Cook: \u201cI\u2019d be nothing without you\u00a0\/ I think you taught me, I think I taught you\u00a0\/ You believe me, I believe you,\u201d she sings. The softness in her voice is disarming, even through layers of effects.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Charli\u2019s work has always toggled between true vulnerability and hedonistic self-aggrandizement. On the chorus of \u201c360,\u201d a single from \u201cBRAT<\/em>,\u201d Charli boasts about her ubiquity: \u201cWhen you\u2019re in the mirror you\u2019re just looking at me\u00a0\/ I\u2019m everywhere, I\u2019m so Julia,\u201d she sings, an IYKYK reference to the downtown icon Julia Fox. Yet on \u201cSympathy is a Knife,\u201d a song purportedly about Taylor Swift, she admitted to feeling goosey, small: \u201c\u00a0\u2019Cause I couldn\u2019t even be her if I tried\u00a0\/ I\u2019m opposite, I\u2019m on the other side.\u201d Swift, who can be terrifyingly vicious with her detractors, seemed to respond a year later with \u201cActually Romantic,\u201d a weird and petty song co-written with Max Martin and Shellback: \u201cI heard you call me Boring Barbie when the coke\u2019s got you brave,\u201d Swift chirped. Their alleged feud was equal parts funny and mortifying, as it often is when privileged grownups take swings at each other.<\/p>\n

In recent years, Charli has adopted a postmodern, almost scholarly interest in fame. It\u2019s hard to say whether she thinks celebrity is more interesting than the work that enables it; at times, her discography has seemed to imply meaning rather than provide it. In a Substack post from this past fall, she linked to a 1974 video of Lou Reed giving an ornery press conference in Sydney, ahead of an Australian tour. Reed wears sunglasses, a lemon-yellow T-shirt, and a popped collar; his hair is short and bleached. He seems to regard the scrum of reporters with a mix of apathy and bafflement. Occasionally, he takes a sip from a glass of juice, using two straws at once. \u201cI don\u2019t have anything to say,\u201d he shrugs, when a journalist pushes him on his terseness. The clip is sometimes recalled as combative, though Reed has the calm but bewildered comportment of someone who has parachuted into a foreign land, and is peering around for the first time. It\u2019s possible that he was on drugs, although, as Charli writes, \u201cWho fucking cares? In my opinion it\u2019s just funny and cool.\u201d<\/p>\n

It is<\/em> funny and cool, though perhaps not just that. The famously idiosyncratic and testy Reed was surely right to eschew spokesperson status. Charli, too, seems to constantly be at odds with her persona. On \u201cNo One Lasts Forever,\u201d another new song, she sings:<\/p>\n

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Everyone thinks I\u2019ve got a problem
Since everyone knows my name
That I\u2019m irresponsible and rude
That I\u2019ll put th\u0435 drugs in my veins<\/p>\n

Read more Bari Weiss Is On It<\/a><\/p>\n<\/div>\n<\/blockquote>\n

The end of the song has an appearance from the filmmaker and body-horror auteur David Cronenberg, who recounts a near-death experience he had after collapsing on the street, near his home in Toronto. \u201cAs I was lying there on the sidewalk, I did not think about art at all,\u201d Cronenberg says. \u201cI thought about people\u2014I thought about life.\u201d I couldn\u2019t quite tell if Charli included the outro as a rejoinder to her own philosophy, which seems to center art\u2014or, at least, being perceived as an Artist\u2014above all else. Or if perhaps she was trying to tell us that she, too, sees creativity as separate, heightened, and divorced from humanity, yet wholly meaningless without it.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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When the Strokes put out their d\u00e9but LP, \u201cIs This It,\u201d in 2001, they were instantly, breathlessly anointed as saviors of New York City\u2019s sagging rock scene. Even back then, they seemed hugely uninterested in that title. (The summer before the record\u2019s release, a journalist from the NME<\/em> suggested to the front man, Julian Casablancas, that his band might single-handedly revive the genre: \u201cThat\u2019s fucking ridiculous,\u201d Casablancas, then twenty-two, replied.) I still love \u201cIs This It,\u201d a punchy album about being young and bratty and terrified and also totally sure of yourself. Since 2001, though, the Strokes have often appeared on the verge of psychic dissolution\u2014shortly before their June tour, the guitarist Nick Valensi announced that he was taking a \u201ctemporary break\u201d from the band\u2014and they have yet to make another record quite as pure and potent as that first one.<\/p>\n

Yet, in some ways, Casablancas has only become more interesting, both as a vocalist and as an irascible, often controversial front man. \u201cReality Awaits,\u201d the Strokes\u2019 seventh and strangest album, came out the same day as \u201cMusic, Fashion, Film.\u201d It was preceded by two singles, \u201cGoing Shopping\u201d and \u201cFalling Out of Love,\u201d both of which caused a mild hubbub for the aggressive use of Auto-Tune on Casablancas\u2019s doe-eyed warble. (\u201cReality Awaits\u201d was produced by Rick Rubin, who is known simultaneously for his subtractive, Zen-like minimalism and for making things sound compressed and preposterously loud; he does both here.) I surprised myself by eating up the Auto-Tune; much like on Bon Iver\u2019s \u201c715 – CR\u03a3\u03a3KS,\u201d which has Justin Vernon singing through a bespoke pitch-shifting vocal processor known as the Messina, the prismatic splintering of Casablancas\u2019s voice has a kind of surreal, iridescent quality. \u201cMore human than human,\u201d as Rob Zombie once sang. Lyrically, Casablancas, like Charli XCX, seesaws between raw sincerity and who-gives-a-fuck insouciance, and his mutant vocals bridge those two modes of being. I laughed out loud at a verse on \u201cLonely in the Future,\u201d in which a loose and unbothered Casablancas fires off a series of seemingly random potshots, including a dig at Harry Styles, whose \u201cAs It Was\u201d uses a beat similar to that of the Strokes\u2019 \u201cHard to Explain\u201d:<\/p>\n

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Weeknd, I like your outfit
YOLO<\/em>, you only live once
Dude kept the beat \u201cAs It Was\u201d
John Legend, that\u2019s Josh Groban
I guess I\u2019m flattered, maybe
All good, we all steal, baby<\/p>\n<\/div>\n<\/blockquote>\n

Why not riff on celebrity and the distorting nature of fame in a lightly robotic voice? Casablancas, too, is channelling Lou Reed in Sydney, refusing to soften his crankiness or his illegibility: \u201cI did that yesterday, when I was a kid,\u201d he sings on \u201cLonely in the Future.\u201d Yet, elsewhere on the record, he sounds beautifully unguarded. \u201cFalling Out of Love\u201d seems to be about what happens after a relationship ends\u2014all the feelings that linger before transforming into something new. \u201cI\u2019m in love with a ghost\u00a0\/ I\u2019ll be always and never alone,\u201d he sings. Again like Charli, he is trying to decide what parts of his life are real and spiritually sustainable. On the song\u2019s half-spoken second verse, the Auto-Tune subsides a little, and Casablancas\u2019s tone resembles that of Matt Berninger, of the National\u2014deep, gritty, resigned.<\/p>\n

There\u2019s something fundamentally warped about both \u201cMusic, Fashion, Film\u201d and \u201cReality Awaits\u201d\u2014some emptiness or corruption lurking at their centers, threatening to take hold\u2014but it hasn\u2019t prevented me from enjoying the albums. This perhaps speaks to my own degradation, or to the generally rotten state of the world right now. \u201cThe worse reality gets, the less you want to hear about it,\u201d Casablancas sings on \u201cGoing Shopping.\u201d It\u2019s a finger-wag of a lyric, but of course he\u2019s also right. Each of these records wonders how art can, or should, respond to danger. In the past, rock has done that by being dangerous itself. Here, it seems, the sound of that threat has changed: it\u2019s more about inhabiting and manipulating the machine than about raging against it.\u00a0\u2666<\/p>\n

Read more The Kids Are Kind of Alright<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Amanda Petrusich writes about the two artists\u2019 new albums\u2014\u201cMusic, Fashion, Film\u201d and \u201cReality Awaits\u201d\u2014which seesaw between raw sincerity and punkish insouciance.<\/p>\n","protected":false},"author":1,"featured_media":1118,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-1119","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-music"],"yoast_head":"\nCharli XCX and the Strokes Are (Sort of) Making Rock Music - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1119\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Charli XCX and the Strokes Are (Sort of) Making Rock Music - 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