Mojo (UK)


Meet Me In The Bathroom: Rebirth And Rock And Roll In New York City 2001-2011

- Fabulously indiscreet oral history of The Strokes and beyond. By Victoria Segal.

How to survive NYC’s last great rock’n’roll explosion…

There are a lot of people having a lot of fun in Meet Me In The Bathroom, journalist Lizzy Goodman’s dynamic record of the New York music scene as the century turned. Fun bubbles up in Brooklyn and Manhattan, in basements and lofts, it spills out as pills and powders and in performanc­es that are almost as “legendary” as the parties that followed. There’s James Murphy of LCD Soundsyste­m, taking ecstasy for the first time as Tomorrow Never Knows blares around him. There’s Karen O of Yeah Yeah Yeahs grabbing “super-spitty” beers from the audience to tip over herself on-stage. Amid all this rough-and-tumble,


centre-of-the-universe revelry, however, there’s one moment of pure joy: the scene that greeted publicist Jim Merlis when he visited The Strokes’ Columbia Hotel room during their first British shows. “They were all barefoot in bed together and they smelled like rock stars,” he remembers. “They said, ‘We just want to tell you, we want to do this for the rest of our lives.’ It was so sweet.” The coolest gang in any room is how The Strokes are remembered, but among the cautionary tales in this wildly entertaini­ng and evocative book “nothing lasts forever” rings out loudest. Created from hundreds of interviews by Goodman (she put down NYC innercircl­e roots as a student working in a restaurant with The Strokes’ Nick Valensi), this digital-age version of Please Kill Me is raw, intimate and surprising­ly frank. There is sometimes a hint of LCD Soundsyste­m’s Losing My Edge about things – “I was there!” – but interleavi­ng, if sometimes contradict­ory, testimonie­s bounce light and meaning off each other, allowing the city and its people to rise off the page in a hiss of pungent sidewalk steam. The large cast includes the forgotten and the false starts – electrocla­sh avatars Fischerspo­oner, for example, or skinny no-goodniks Jonathan Fire*Eater. It’s also the story of a city which had lost its rock’n’roll crown to Seattle in the ’90s and become “a dot-com kind of town”, according to TV On The Radio’s Dave Sitek. The Strokes upended that – but they weren’t the only agents of change: here is the rise of the internet, a destabilis­ed music industry, the inexorable force of gentrifica­tion (a club called Abasement is now a Jil Sander flagship store) and, of course, the impact of 9/11. Interpol, Yeah Yeah Yeahs, The Rapture: all these bands are shown saving humankind from an endless future of nu-metal and Coldplay. But The Strokes dominate, creatures of the modern age and players in an old story of fame and glory. One minute bassist Nikolai Fraiture’s brother is giving Julian Casablanca­s The Best Of The Velvet Undergroun­d for Christmas; the next, Fabrizio Moretti is kissing Drew Barrymore at Coachella and the band are staging interventi­ons to keep “bad influence” Ryan Adams away from Albert Hammond Jr and his increasing­ly calamitous drug addiction. No wonder the next generation – Vampire Weekend, Dirty Projectors – would be more sensible. Life moves fast, but in this book’s 600 pages Goodman pins down a remarkable cultural moment. They were there.

 ??  ?? Getting your kicks: Karen O of Yeah Yeah Yeahs brings super-spitty millennial New York grit to Brixton, April 2002.
Getting your kicks: Karen O of Yeah Yeah Yeahs brings super-spitty millennial New York grit to Brixton, April 2002.

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