It was 2009, and the world was basically waiting for The Strokes to do something—anything. Instead, we got Julian Casablancas standing in front of a giant eagle, wearing a red leather jacket, and singing about the 11th dimension.
If you were there, you remember the vibe. It was weird. It was colorful. And honestly, it was a massive departure from the "coolest guy in the room" persona he’d perfected on Is This It. Phrazes for the Young wasn't just a solo album; it was Julian trying to figure out who he was without four other guys leaning against the same brick wall.
The Oscar Wilde Connection
The title isn't just a random string of words. It’s a direct nod to Oscar Wilde’s Phrases and Philosophies for the Use of the Young. Julian basically took that concept—the idea of being provocative, slightly arrogant, and deeply observant—and turned it into an eight-song manifesto.
He didn't want to make another garage rock record. That would’ve been too easy. Instead, he teamed up with producers Jason Lader and Mike Mogis (the Bright Eyes guy) to create something that sounded like 1984 through a New York lens.
"The Oscar Wilde thing makes fun of how superficial humans are," Julian explained back then. "I was writing more about arrogance and shortsightedness."
🔗 Read more: Christian Bale as Bruce Wayne: Why His Performance Still Holds Up in 2026
You can hear that tension everywhere. The record is dense. It’s got banjos. It’s got synths that sound like they were stolen from a Duran Duran b-side. It’s got "4 Chords of the Apocalypse," which is basically a soul song trapped in a digital box.
Breaking Down the Sound of Phrazes for the Young
People forget how much of a risk this was. At the time, if you were the lead singer of the most influential rock band of the decade, you were supposed to play it safe. Julian did the opposite.
The Synths and the Grit
"11th Dimension" is the big one. It’s catchy as hell, but it’s also frantic. There’s a lot going on in the mix—shakers, layered vocals, and a guitar line from Blake Mills that feels like it’s trying to escape the speakers.
Then you have "Ludlow St."
This track is a love letter (and a goodbye) to the Lower East Side. It’s got this country-folk stomp that absolutely shouldn't work with the rest of the album's neon-lit aesthetic, yet it somehow does. It’s Julian reflecting on his own history with New York, gentrification, and drinking too much.
💡 You might also like: Chris Robinson and The Bold and the Beautiful: What Really Happened to Jack Hamilton
- Out of the Blue: The opener that sets the tone—optimistic melody, depressing lyrics.
- Glass: A baroque electro-ballad that feels like it belongs in a sci-fi movie.
- River of Brakelights: This is the bridge to what he would eventually do with The Voidz. It’s chaotic and loud.
Why Julian Sorta Regretted It (But Shouldn't Have)
Years later, Casablancas hasn't always been the biggest cheerleader for this record. He’s gone on record saying he felt like he played it "too safe." He thought if he went as weird as he actually wanted to, no one would take him seriously.
That’s a wild thought when you consider how "weird" it felt to Strokes fans in 2009.
But looking back from 2026, Phrazes for the Young feels like the essential missing link. You can see the DNA of Angles and The New Abnormal in these tracks. You can see the experimentation that would eventually lead to the art-punk madness of The Voidz. Without the freedom of this solo run, we might never have gotten the evolved version of Julian we have today.
The Legacy of the "Luxury Edition"
If you were lucky enough to snag the deluxe box set, you know it was a work of art in itself. It looked like an antique chest. It had B-sides like "30 Minute Boyfriend" and "Old Hollywood"—tracks that many fans argue are actually better than some of the stuff that made the final eight.
📖 Related: Chase From Paw Patrol: Why This German Shepherd Is Actually a Big Deal
The live shows were also a spectacle. He wasn't just standing behind a mic stand anymore. He was moving. He was performing. He was trying to be a "pop star" in the strangest way possible.
Key Takeaways for the Modern Listener
- Don't skip the deep cuts: "Tourist" is one of the most sophisticated songs he’s ever written, featuring Nate Walcott on horns.
- Listen for the lyrics: This is Julian at his most confessional. The line "I know I'm going to hell in a purple basket" from "Out of the Blue" is quintessential JC.
- Appreciate the production: Jason Lader’s work here is meticulous. There are layers of percussion and synth that you only notice on the tenth listen.
If you haven't revisited this record in a while, do yourself a favor and put on some headphones. It’s a snapshot of a genius trying to outrun his own shadow. It’s messy, it’s ambitious, and it’s a lot more important than Julian gives it credit for.
Next Steps for Your Playlist
To truly understand the evolution of this sound, listen to Phrazes for the Young back-to-back with The Strokes' First Impressions of Earth and then dive into The Voidz' Tyranny. You’ll hear the exact moment Julian Casablancas decided that being "the guy from The Strokes" wasn't enough anymore.