Let's be real for a second. Ranking the Strokes albums is basically an exercise in masochism. You’re guaranteed to piss off someone who thinks First Impressions of Earth is a misunderstood masterpiece, or a teenager who just discovered The New Abnormal and thinks the early 2000s were prehistoric. But here’s the thing about the Strokes: they never actually released a truly "bad" record. Even their "slump" era has tracks that most indie bands would sell their souls to have written.
When Is This It dropped in 2001, it didn't just change music; it changed how people dressed and how they talked. It was a cultural reset button. Since then, Julian Casablancas, Nick Valensi, Albert Hammond Jr., Nikolai Fraiture, and Fabrizio Moretti have spent over two decades trying to outrun their own shadow. Sometimes they ran toward the light, sometimes they tripped in the dark, and once or twice, they just sat down and refused to move.
This isn't a list based on "objective greatness," because that doesn't exist in art. This is a look at the Strokes albums ranked by their impact, their cohesion, and how well they’ve aged now that the hype from the "The" band era has finally settled.
6. Comedown Machine (2013)
This album feels like a breakup text sent at 3:00 AM. In 2013, the band didn't do any press. No photoshoots. No tour. They just threw this retro-colored vinyl at us and walked away. Honestly? It’s better than you remember, but it’s still the bottom of the pile.
The title is incredibly accurate. It sounds like the "comedown" after a long decade of being the coolest guys in the room. You’ve got "Tap Out," which sounds like it belongs on a Duran Duran B-side—not necessarily a bad thing—and then you’ve got "One Way Trigger," where Julian hits a falsetto that sounds like a synth-pop fever dream. The problem with Comedown Machine isn't the quality of the songs; it's the lack of identity. It feels like a collection of ideas rather than a statement.
"Welcome to Japan" is a genuine bop, though. It’s got that classic Strokes sass. But then you hit "50/50," and it feels like they’re trying too hard to be the "rock band" everyone wanted them to be. It’s a weird, fragmented record that captured a band that seemingly didn't want to be in the same room as each other. If you're a die-hard, you love the experimentation. If you're a casual fan, you probably forgot this existed.
5. First Impressions of Earth (2006)
This is the one that causes the most fights. It’s too long. Way too long. 14 tracks and 52 minutes is a lot of Strokes to digest when their first two albums were lean, mean, 30-minute machines.
Producer David Kahne pushed the band into a much more "pro" sound, which some people hated. It lost that basement-tape grit. But look at the highs: "You Only Live Once" is arguably one of the top three songs they’ve ever written. The riff is perfection. "Juicebox" was a weird, heavy, distorted pivot that actually worked, even if it felt like they were trying to be Muse for a second.
The middle of this album is where things get shaky. "On the Other Side" and "Ask Me Anything" (where Julian just sings over a Mellotron) are... choices. It’s an album of extreme ambition and extreme clutter. They wanted to prove they weren't just a garage rock revival act. They proved they could be a big, stadium-sized rock band, but they lost some of their soul in the process. It’s the sound of a band overthinking everything.
4. Angles (2011)
After a five-year hiatus where everyone did solo projects, Angles arrived. It was famously difficult to make. Julian reportedly recorded his vocals separately and emailed them to the band. You can kind of hear that disconnect, but strangely, it works in the album's favor.
It’s jittery. It’s bright. It’s weirdly 80s. "Machu Picchu" is a fantastic opener that signals right away that the "leather jacket" era is over. Then you have "Under Cover of Darkness," which is the closest they ever got back to that Is This It magic.
What makes Angles rank higher than the others so far is the variety. "Taken for a Fool" is a classic power-pop gem, and "Games" shows off a synth-heavy side that would eventually lead to Julian’s work with The Voidz. It’s a messy record, sure, but it’s a fun mess. It felt like they were finally allowed to have different influences show up in the music, even if they weren't exactly "on the same page" personally.
3. The New Abnormal (2020)
Nobody expected a "comeback" album to be this good. Especially not twenty years into their career. Rick Rubin stepped in as producer, stripped away the over-polishing of the previous two records, and let the band just play.
This album won a Grammy for a reason. It’s the most "mature" the Strokes have ever sounded. Julian isn't just mumbling through a distortion pedal anymore; he’s actually singing. "Selfless" and "The Adults Are Talking" are instant classics. The vibe is melancholic, reflective, and weirdly hopeful.
"Ode to the Mets" is the standout here. It’s a slow-burning masterpiece that builds into this crashing, emotional finale. It’s the kind of song a younger Strokes wouldn't have had the patience to write. They finally stopped trying to recapture 2001 and started sounding like the veteran legends they are. It’s an essential part of the Strokes albums ranked conversation because it proved they weren't just a nostalgia act.
2. Room on Fire (2003)
The "sophomore slump" that wasn't. People often dismiss Room on Fire as "Is This It Part 2."
Yeah, and? If you have a formula that perfect, you use it twice.
Gordon Raphael returned to produce, and while the sound is similar to the debut, it’s tighter and slightly more aggressive. "Reptilia" is the definitive Strokes song for many. That twin-guitar attack between Nick and Albert is the blueprint for every indie band that followed.
"The End Has No End" and "What Ever Happened?" are incredible songs that deal with the sudden, crushing weight of fame. There’s a nervousness to this album that makes it feel alive. It’s 33 minutes of pure adrenaline. It doesn't have the cultural "shook the world" status of the debut, but song-for-song, it’s almost just as strong. "12:51" gave us that synthesized guitar sound that became another staple of their toolkit. It’s a perfect record. It just happens to live next to an even more perfect one.
1. Is This It (2001)
There’s no other option for the top spot. Any list that doesn't put this at number one is just trying to be edgy.
Is This It is one of the few albums in history that actually lives up to the hyperbole. It’s the "Velvet Underground & Nico" of the 21st century. It’s eleven songs, no filler, and a total runtime of about 36 minutes. It redefined the New York City aesthetic.
From the opening bassline of the title track to the frantic energy of "Take It or Leave It," it’s a masterclass in economy. They don't waste a single note. Julian’s vocals sound like he’s singing through a telephone in a dive bar bathroom, and it’s the coolest thing you’ve ever heard. "Last Nite," "Someday," "Hard to Explain"—these aren't just songs; they’re the DNA of modern alternative music.
It captured a specific moment in time—pre-9/11 New York, youthful arrogance, and the raw energy of five guys who knew they were about to take over the world. It’s untouchable.
Understanding the Strokes Evolution
To really get why the Strokes albums ranked in this specific order matters, you have to look at the "inter-band" politics. For years, the narrative was that Julian was a dictator, writing every single part for every instrument. By the time Angles and Comedown Machine rolled around, the band was pushing for a more democratic process.
That shift is why the middle of their discography feels so experimental—and sometimes disjointed. You’re hearing five different people try to find a new collective voice. By The New Abnormal, they finally found a balance between Julian’s vision and the band’s collaborative energy.
Misconceptions about the "Slump"
Many critics write off the 2011-2013 era as a failure. That’s a mistake. While those albums might rank lower on a list, they provided the necessary "growing pains" for the band to survive. Without the weirdness of Comedown Machine, we never would have gotten the refined brilliance of their later work. They had to break their own sound to figure out how to put it back together.
How to Listen to the Strokes Now
If you’re a new fan, don't just stick to the hits.
- Start with the debut. You need the foundation.
- Jump to The New Abnormal. See how they grew up.
- Go back to Room on Fire. Appreciate the perfection of the "classic" sound.
- Dive into the deep cuts. Songs like "Ize of the World" (from First Impressions) or "Chances" (from Comedown Machine) are where the real rewards are.
The Strokes have managed to stay relevant not by staying the same, but by being stubbornly themselves. Whether they're making garage rock, 80s synth-pop, or sprawling six-minute ballads, they always sound like the Strokes. That’s a rare feat in an industry that usually chews up and spits out "it" bands within three years.
For your next deep dive into their discography, pay attention to the interplay between the two guitars. The way Nick Valensi and Albert Hammond Jr. weave in and out of each other's melodies is essentially a masterclass in arrangement. They rarely play the same thing at the same time, which is the secret sauce of their sound.
Stop worrying about whether they'll ever "save rock and roll" again. They already did that in 2001. Now, they're just a great band making great music, which is a much better place to be. Check out the live performances from their 2024/2025 tours—they're playing with a renewed energy that suggests the next chapter might be even better than the last.