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Room on Fire
Room on Fire
Room on Fire
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Room on Fire
Studio album by
The Strokes
ReleasedOctober 21, 2003
RecordedJanuary - September 2003
StudioTMF (New York City)
Genre
Length32:15
LabelRCA
ProducerGordon Raphael
The Strokes chronology
Is This It
(2001) 		Room on Fire
(2003) 		First Impressions of Earth
(2005)
Singles from Room on Fire
  1. "12:51"
    Released: November 4, 2003
  2. "Reptilia"
    Released: February 9, 2004
  3. "The End Has No End"
    Released: November 1, 2004

Room on Fire is the second studio album by American rock band the Strokes, released on October 21, 2003, through RCA Records.[1] Its title is derived from a lyric in the song "Reptilia". The album received positive reviews upon its release and reached number four on the US Billboard 200, where it went on to sell 597,000 units by October 2006,[2] earning a gold certification from the Recording Industry Association of America (RIAA). It also reached number two on the UK Albums Chart. Three singles were released from the album: "12:51", "Reptilia", and "The End Has No End".

Recording

[edit]

Immediately after touring for their debut album Is This It, the Strokes returned to the studio. They hired Radiohead producer Nigel Godrich, but fired him when, according to the band, their work together proved "soulless".[3] Godrich said of the failed collaboration: "The problem there was that me and [singer Julian Casablancas] are just too similar, we're both control freaks. He wanted to do it his way, I wanted to do it my way, and obviously that's the point of me being there. And I'm saying 'Well, why am I here if you're not prepared to try and do it the way I want to do it?' We got on great, it was just one of those laughable things where it just doesn't work. I wanted them to change, and they didn't."[4]

Those sessions were ultimately scrapped and the band returned to their original producer, Gordon Raphael. The Strokes had exactly three months of studio time left to record the album. Guitarist Nick Valensi stated that "the album would've ended up a lot better if we'd had another couple of weeks."[5]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic77/100[6]
Review scores
SourceRating
AllMusicStarStarStarStar[7]
BlenderStarStarStar[8]
Entertainment WeeklyB[9]
The GuardianStarStarStar[10]
NME9/10[11]
Pitchfork8.0/10[12]
QStarStarStarStarStar[13]
Rolling StoneStarStarStarStar[14]
The Rolling Stone Album GuideStarStarStarStar[15]
SpinA−[16]
UncutStarStarStarStar[17]

The music of Room on Fire has been described as indie rock,[18] garage rock revival,[19] and new wave.[20] The album received generally positive reviews from critics: on the review aggregating website Metacritic, it currently has a score of 77 out of 100 based on 31 reviews, which indicates "generally favorable reviews".[6] However, in general, reviewers found the album too similar to Is This It.[5] Rob Mitchum of Pitchfork gave the album an 8 out of 10, but stated that the band "have all but given birth to an identical twin."[12] A positive review from Rolling Stone said that "the Strokes have resisted the temptation to hit the brakes, grow up and screw around with a sound that doesn't need fixing — yet." The review also stated that "if you want comfort and clarity, you're definitely in the wrong room. This record was built for thrills and speed."[14] Dan Tallis of BBC Music gave it a favorable review and said, "Bands should think themselves lucky to achieve such heights just once in their careers. However, they've done all they could have done. They've made Is This It part two. It's more of the same plus extras. And I'm more than happy to settle for that."[21]

Ben Thompson of The Observer gave it all five stars and said, "This is a feeling that can be inspired only by people making the absolute most of an opportunity to communicate: cutting through all the rubbish that surrounds them to make a clear and memorable artistic statement. And that the Strokes should have managed to do such a thing at this stage in their careers, is - I think - an achievement of real significance."[22] Greg Milner of Spin gave it a score of eight out of ten and said that its "similarity to its predecessor ultimately bespeaks a purity of vision, not a dearth of new ideas."[16] Jenny Tatone of Neumu gave it a score of nine stars out of ten and said, "The Strokes don't make the most original sounding music you've ever heard, but they make something that is only the Strokes."[23] In his Consumer Guide, Robert Christgau gave the album a three-star honorable mention ((3-star Honorable Mention)(3-star Honorable Mention)(3-star Honorable Mention)) while picking out two songs from the album ("Between Love and Hate" and "What Ever Happened?") and stating simply, "Narcissism repeats itself."[24]

Not all reviews were positive, however. Raoul Hernandez of The Austin Chronicle gave the album a score of two stars out of five and stated that "even the half-hearted retreads... cashing in on the notoriously unwashed NYC quintet's debut can't muster a wink."[25] Iain Moffat of Playlouder gave the album only one star and said of the Strokes, "There's little of the pop sparkle that shone through the likes of 'The Modern Age' and 'Last Nite' even when - as with 'You Talk Way Too Much' - they're rewriting old material, and Julian's vocals are, to be blunt, awful, sounding uncomfortable to record and rather complacently nasal."[26]

In 2013, Room On Fire was listed at number 360 on NME's list of the 500 greatest albums of all time. In 2018, the BBC included it in their list of "the acclaimed albums that nobody listens to any more".[27]

Reappraisal

[edit]

In later years, Room on Fire has received critical acclaim and is regarded by fans as one of the Strokes' best albums. In 2021, Pitchfork included Room on Fire on its list of album review scores they "would change if they could", upgrading its score from 8.0 to 9.2 out of 10, though they stated this would not change the actual score. Lane Brown of Pitchfork praised it as a "different, better album with major improvements over its predecessor". Scoring a 0.1 bonus point more than Is This It, Room on Fire is commended in marking confident progress and "at least partially thwarting rock history's most inevitable backlash."[28]

Commercial performance

[edit]

The album peaked at number four on the Billboard 200 in the US, and was later certified Gold by the RIAA in December 2003,[29][30] and platinum certification for selling over one million units in June 2021.[31]

Track listing

[edit]

All tracks are written by Julian Casablancas, with "Automatic Stop" co-written by Albert Hammond Jr.[32]

Room on Fire track listing
No.TitleLength
1."What Ever Happened?"2:49
2."Reptilia"3:39
3."Automatic Stop"3:27
4."12:51"2:33
5."You Talk Way Too Much"3:06
6."Between Love & Hate"3:16
7."Meet Me in the Bathroom"2:56
8."Under Control"3:07
9."The Way It Is"2:21
10."The End Has No End"3:05
11."I Can't Win"2:42
Total length:33:05

Personnel

[edit]

The Strokes

Production

Design

  • Peter Phillips – cover art ("War/Game", used with permission and courtesy of Zoe Phillips)
  • Colin Lane – photography
  • Brett Kilroe – art direction

Singles

[edit]
Singles from Room on Fire
Title Information
"12:51"
"Reptilia"
  • Released: February 9, 2004
  • Chart positions:
    No. 17 (UK Singles Chart)
    No. 19 (US Modern Rock)
"The End Has No End"
  • Released: November 1, 2004
  • Chart positions:
    No. 27 (UK Singles Chart)
    No. 35 (US Modern Rock)

Charts

[edit]

Certifications

[edit]
Certifications for Room on Fire
Region Certification Certified units/sales
Australia (ARIA)[55] Platinum 70,000‡
Canada (Music Canada)[56] Gold 50,000^
Japan (RIAJ)[57] Gold 100,000^
New Zealand (RMNZ)[58] Gold 7,500^
United Kingdom (BPI)[59] Platinum 300,000^
United States (RIAA)[60] Platinum 1,000,000‡

^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Room on Fire

View on Grokipedia
from Grokipedia
Room on Fire is the second studio album by the American rock band , released on October 28, 2003, through . Produced by , who also helmed their debut , the album consists of 11 tracks that build on the band's raw sound, blending influences with catchy, angular riffs and Julian Casablancas's distinctive vocals. Recorded over the summer of 2003 at TMF Studios in New York, it captures the quintet's live energy while addressing the pressures of following up their breakthrough success. The album's singles—"12:51", "Reptilia", and —helped propel its commercial performance, debuting at number four on the US Billboard 200 and reaching number two on the . It has sold over one million copies in the United States alone, earning a Platinum certification from the RIAA, and contributed to the early-2000s garage rock revival alongside acts like and . Critically, Room on Fire received widespread acclaim for its songwriting and musicianship, with awarding it an 8.0 and praising tracks like "Reptilia" and "Under Control" for their infectious hooks, though some reviewers noted its similarity to the debut as both a strength and a limitation. Notable for its minimalist production that emphasizes space between elements—allowing guitars and rhythms to "breathe"—the album solidified the Strokes' status as torchbearers, influencing subsequent generations of bands with its unpolished urgency and vibe.

Background and development

Conception and songwriting

Following the breakthrough success of their 2001 debut album , which ignited the revival and established as a leading force in , the band sought to capitalize on their momentum with a release that refined their raw energy while pushing stylistic boundaries. Frontman expressed urgency in delivering new material quickly, driven by industry pressures and a collective fear that their career could stall without rapid follow-up success, positioning Room on Fire as an effort to evolve beyond mere replication of their initial sound. This motivation stemmed from the debut's commercial and critical acclaim, which had elevated them from New York underground darlings to global tastemakers, prompting a desire to sustain relevance amid rising expectations. Casablancas remained the primary creative force behind Room on Fire, handling lyrics and compositional foundations for all tracks except "Automatic Stop," co-written by Albert Hammond Jr. Guitarists Nick Valensi and Albert Hammond Jr. played key roles in shaping riffs and structural elements, contributing to tighter interplay and more dynamic arrangements that showcased the group's maturing musicianship. The process emphasized concise, hook-driven songs averaging around three minutes, blending post-punk urgency with subtle new wave and soul influences to avoid stagnation. Song ideas for the album emerged organically during ' extensive 2002 touring schedule in support of , with informal demos captured in low-key settings to capture initial sparks before formal refinement. Tracks such as "You Talk Way Too Much" and "Between Love & Hate" were tested live during these shows, allowing to hone performances amid the chaos of constant travel. This road-honed approach ensured the material retained a live-wire immediacy reflective of their post-debut lifestyle. Key tracks highlighted specific inspirations tied to the band's experiences. "Reptilia," a high-octane standout, derived its title from the "reptilian brain"—the primitive neural core governing raw emotions like desire and frustration—with the album's name twisting from its lyric, "The room is on fire as she's fixing her hair," evoking chaotic intimacy. Similarly, opener "What Ever Happened?" captured shifting dynamics and the disorientation of newfound fame, its lyrics probing isolation and as Casablancas grappled with the group's rapid ascent and interpersonal tensions.

Pre-production

In early 2003, initially hired , known for his work with , to produce their second album, Room on Fire, aiming for a polished evolution from their debut. However, after approximately 10 days of sessions focusing on tracks like "Meet Me in the Bathroom," creative clashes emerged, particularly between Godrich and frontman over elements such as sounds and overall direction, leading to Godrich's dismissal. The band found the resulting material misaligned with their raw energy, prompting a swift change to preserve their signature vibe. The group then turned to , who had produced their 2001 debut , to ensure continuity in the lo-fi, aesthetic that defined their sound. Casablancas personally invited Raphael to New York shortly after the Godrich sessions collapsed, tasking him with overseeing production to recapture the unpolished intimacy of their earlier work. Raphael's approach emphasized simplicity over elaborate layering, aligning with the band's desire for a straightforward follow-up. Initial demo sessions with took place in New York studios starting in January 2003, where the band refined song arrangements through live tracking without extensive overdubs, building on material developed during prior songwriting phases. These preparatory efforts spanned several months, allowing the group to hone their 11 selected tracks while discarding others from an expanded pool of 23 compositions. To maintain the punchy, immediate feel of , the band consciously limited the album's runtime to under 35 minutes, targeting concise tracks averaging around three minutes each and incorporating brief four-second gaps between songs for a taut overall structure. This decision underscored their emphasis on brevity and impact, avoiding filler to deliver a streamlined listening experience.

Recording and production

Studio sessions

The recording sessions for Room on Fire took place at TMF Studios in over three months in 2003, following an initial attempt with producer that yielded no usable material. The band, led by producer —who had helmed their debut —entered the studio with 11 pre-selected songs after extensive rehearsals to ensure all elements could be performed live without additional musicians or effects. On the first day, the group played through the entire album to demonstrate their tight preparation, reflecting two years of non-stop touring that had honed their sound. The day-to-day process emphasized efficiency and minimalism, with approximately half the tracks captured live as a full band to preserve raw energy, while the other half started with drum tracks laid down by Fabrizio Moretti before layering bass, guitars, and vocals. Bassist Nikolai Fraiture and Moretti often established the foundation first, providing a rhythmic backbone for the guitars of Nick Valensi and Albert Hammond Jr. to build upon collaboratively. For instance, "Reptilia" featured Valensi contributing the core chords during rehearsals, with Hammond Jr. adding interlocking lines to create its driving tension, all captured in a straightforward manner to maintain the song's urgent feel. Similarly, tracks like "Under Control" and "12:51" were recorded live in single passes, prioritizing the band's onstage chemistry over extensive overdubs. Time constraints posed significant challenges, as the band juggled sessions with ongoing partying and internal dynamics strained by post-debut fame, leading to minimal revisions and a sense of rush. Guitarist later reflected that the limited schedule prevented deeper refinement, stating, "I think the album would’ve ended up a lot better if we’d had another couple of weeks." Producer noted the group's evolution, describing them as "a monstrously well-prepared, tight band" capable of intense focus despite the pressures. The album was completed by late September 2003, with final tweaks—including a 24-hour marathon on the last day—to wrap production and mixing efficiently ahead of the October release deadline.

Production team and techniques

served as the producer for Room on Fire, continuing his collaboration with from their debut album to capture a raw, energetic sound that prioritized the band's live performance dynamics. He recorded the album at TMF Studios in , emphasizing a live-room approach where the full band played together in one room to preserve the spontaneous, unpolished feel central to their aesthetic. This method involved minimal tracking, with a focus on raw energy over extensive overdubs, and limited digital editing to maintain the organic interplay between instruments. To achieve the album's gritty texture, Raphael employed analog equipment including Neve 1073 and preamps, alongside the 737sp for vocal processing, which contributed to the warm, immediate quality of the recordings. Vintage amplifiers were miked live in the space to capture natural room ambience, avoiding isolation booths and to foster a jamming atmosphere that enhanced the garage rock edge. While some digital tools, such as the Bombfactory LA-2A plugin, were used sparingly for vocal tracks—splitting them into clean and processed channels with automated volume adjustments— the overall production shunned heavy digital manipulation in favor of analog warmth. Raphael handled much of the mixing alongside input from band members, applying subtle EQ adjustments to blend elements without overprocessing. To preserve the album's , mixes were delivered to mastering engineers and Steve Fallone at Sterling Sound without a , allowing for greater sonic breadth and avoiding the compressed sound prevalent in contemporary recordings. This approach ensured the final product retained the punch and variability of a live performance.

Music and lyrics

Musical style and influences

Room on Fire continues the revival sound established on ' debut album , incorporating stronger new wave and elements characterized by angular guitar lines and taut rhythms. The album's sonic palette features clanging, interwoven guitars from and , a propulsive driven by Nikolai Fraiture's bass and Fabrizio Moretti's drumming, and Julian Casablancas's signature raw, compressed vocals, all delivered with a woozy nonchalance that evokes early new wave urgency. Tracks like "Reptilia" exemplify this with its ferocious, angular guitar interplay, blending precision and energy. The album draws influences from 1970s New York punk and new wave scenes, echoing the CBGB-era ethos of raw, urgent rock without overt emulation. Critics have noted parallels to Television's interlocking guitar rhythms and rhythmic drive, particularly in the album's , which provides a foundation of interlocking notes and subtle propulsion reminiscent of pioneers. Other influences include new wave acts like , evident in the synth-like guitar tones on "12:51," and broader '80s pop elements such as soul in the "Under Control." Compared to , Room on Fire features a cleaner, slightly smoother production that refines the raw energy without diluting its punch, resulting in a concise runtime of 33:05 that emphasizes tight, song-driven delivery. This evolution positions the album within the early 2000s boom, alongside contemporaries like , as part of a broader revival that reinvigorated with lo-fi aesthetics and hook-laden melodies.

Themes and song analysis

Room on Fire's lyrics, penned primarily by frontman , revolve around recurring themes of strained relationships, urban alienation, and self-doubt, often filtered through the lens of newfound fame and New York City's underbelly. Songs like "Automatic Stop" exemplify fleeting romance and emotional disconnection, portraying mismatched desires in a with lines such as "She wanted him, he wanted me," evoking regret and the impermanence of connections amid city life. Urban alienation surfaces in tracks depicting isolation within bustling nightlife, while self-doubt permeates reflections on personal failures and societal pressures, as in "I Can't Win," where Casablancas laments a "wasted life." Casablancas delivers these themes with a detached, ironic vocal style that blends nonchalance with underlying tension, evolving from the raw punk edge of the band's debut to a more weary, dynamic croon expressing and . This approach underscores the album's motifs of doomed romances intertwined with media scrutiny, where personal vulnerabilities mirror the band's post-fame anxieties, creating a of emotional guardedness. Individual songs deepen these explorations through narrative vignettes. "12:51" evokes nocturnal , capturing the hazy anticipation of a late-night rendezvous in the , with tracing a path from corner stores to dimly lit rooms, symbolizing youthful transience and fleeting intimacy. "Meet Me in the Bathroom" conjures New York nightlife's sleazy undercurrents, suggesting secretive, self-aware encounters in seedy settings that highlight relational ambiguity and hedonistic detachment. "The End Has No End" grapples with inevitability, its repetitive structure and cryptic lines about hidden truths and endless cycles implying the inescapable loop of doubt and relational fallout. Meanwhile, "What Ever Happened?" opens with introspective pleas like "I wanna be forgotten," voicing self-doubt over fame's alienating glare and a yearning for obscurity. The album traces an overall narrative arc from raw introspection to weary resignation, beginning with the fame-weary questioning of "What Ever Happened?" and culminating in tracks that accept emotional stalemates, reinforcing a progression toward passive in the face of personal and urban chaos. This structure amplifies the lyrical focus on internal conflict, distinguishing Room on Fire's thematic depth from its sonics.

Release and promotion

Artwork and packaging

The cover art for Room on Fire is derived from a cropped section of British pop artist ' 1961 oil and wood painting War/Game, which juxtaposes motifs of pistols, playing cards, flags, and military insignia to symbolize the blurred lines between conflict and leisure. The image was licensed for use with permission from Phillips, courtesy of his representative Zoe Phillips, and its selection reflects the album's themes of tension and immediacy. Art direction was provided by Brett Kilroe, who coordinated the visual elements to maintain a minimalist, gritty aesthetic consistent with the band's style. Photography by features candid, unpolished black-and-white shots of the band members in the booklet, emphasizing their raw, urban energy and avoiding overly stylized poses. The album title originates from the lyric in the track "Reptilia"—"The room is on fire as she's fixing her hair"—evoking a for intense, enclosed emotional turmoil and passion. Initial 2003 releases came in standard formats: the in a jewel case with an 8-page booklet containing Lane's photographs, and the LP in a single-pocket matte with a printed inner . While no consumer limited editions with alternate s were issued that year, a small run of test pressing LPs on Rough Trade was produced for promotional purposes.

Marketing and tours

Room on Fire was released on October 21, 2003, in the United Kingdom and by , with the North American rollout following one week later on October 28. This staggered strategy allowed the band to build momentum internationally ahead of the domestic launch, capitalizing on their growing European fanbase from the debut album . The album's promotion emphasized radio airplay for "12:51," which received significant rotation on rock stations to generate buzz. accompanying the singles, including those for "12:51" and "Reptilia," were directed by notable filmmakers and aired frequently on , enhancing visual exposure. also appeared on key media outlets like sessions and programs, reinforcing their cool, effortless image without overexposure. To support the release, The Strokes launched a extensive world tour spanning late 2003 into 2004, beginning with European dates and expanding to North America and further international shows. The tour featured Kings of Leon as the primary support act, exposing both bands to larger audiences amid the garage rock revival. Highlights included headlining major festivals such as T in the Park and V Festival in the UK during summer 2004, where they performed full sets drawing from both albums.

Singles

"12:51"

"12:51" served as the from ' album Room on Fire, released on October 6, , in the United Kingdom via in CD and limited-edition red vinyl formats, with a U.S. release following on November 4, , through . The single's B-side featured the version of "The Way It Is," an unreleased track from the band's early sessions. The music video, directed by , depicts the band performing amid a surreal, neon-lit grid environment inspired by the aesthetic of , blending live-action footage with digital effects to create a disorienting, otherworldly atmosphere. The video premiered on , contributing to the single's visibility in the early scene. Upon release, "12:51" peaked at number 7 on the UK Singles Chart, marking ' highest-charting single at the time and their first top-10 entry in the country. Critics lauded the track for its infectious pop hooks and refined energy, with reviewers noting its straightforward melody and sonic appeal as key factors in generating buzz ahead of the album's launch. The song's , centered on a moment of personal revelation at 12:51 a.m., evoke late-night and urban solitude, resonating with the nocturnal themes prevalent throughout Room on Fire.

"Reptilia"

"Reptilia" was released as the second single from Room on Fire on February 9, 2004, in the United Kingdom via . The single featured the B-side "Modern Girls & Old Fashion Men," a between lead singer and singer-songwriter , recorded during the band's tour. It peaked at number 17 on the UK Singles Chart and number 19 on the US Alternative Songs chart, marking the band's continued presence on alternative radio. The music video, directed by , depicts the band performing in a minimally furnished with stark lighting, using shots of each member to capture the song's intense energy and raw performance style. Released in early 2004, the video emphasized the group's aesthetic through simple, high-contrast visuals that highlighted guitarist 's dynamic playing. Critics praised "Reptilia" for its driving guitar , particularly Valensi's lead lines, which have been ranked among the best of the for their infectious, energy. The track became a staple in the band's live sets, frequently performed with heightened intensity during tours, and achieved significant airplay as a radio hit on alternative stations. The song's title derives from the "reptilian brain," the primitive region responsible for basic instincts and emotions like aggression and survival, reflecting the lyrics' themes of frustration and interpersonal tension.

"The End Has No End"

"" served as the third and final single from Room on Fire, released on November 1, 2004, over a year after the album's October 2003 debut, extending the project's promotional cycle. Issued by Rough Trade in the UK and RCA elsewhere, the single featured the album version of the track, written by and produced by . The release included an official directed by , depicting a man experiencing fragmented recollections of his life while wandering through settings. Although no major touring directly supported the single, live performances of the song, such as on in 2004, helped promote it alongside earlier tracks from the album. On the B-side, the single featured a live cover of The Clash's "," recorded during the band's performance at in on December 5, 2003, capturing their energetic stage rendition of the punk classic. This recording, drawn from Room on Fire era sessions, added a raw, improvisational element to the package. The single achieved moderate commercial success, peaking at number 27 on the UK Singles Chart and spending two weeks in the top 40. Critics highlighted its anthemic chorus and driving rhythm as standout features, with the track's expansive, synth-infused build providing a climactic close to the album. In retrospect, the single's delayed issuance sustained interest in Room on Fire amid the band's evolving sound, contributing to the album's enduring appeal through reissues and compilations like The Singles – Volume 01 in 2023. Its inclusion in live sets and covers by artists like Lorde underscored its lasting resonance as a fan favorite.

Critical reception

Initial response

Upon its release in October 2003, Room on Fire received generally favorable reviews from music critics, earning a aggregate score of 77 out of 100 based on 31 reviews, indicating broad acclaim for its energetic delivery tempered by divided opinions on its creative freshness. Critics appreciated the album's continuation of ' raw, sound while noting its close resemblance to their debut . Prominent publications highlighted the album's strengths in craftsmanship and performance. awarded it 9 out of 10, praising its sleek, thrilling three-minute pop tunes and the band's refined execution that built on their established style without major risks. gave an 8.0 out of 10, commending the taut guitar work and contagious energy in tracks like "Reptilia" and "Under Control," though observing it as an "identical twin" to the debut in its sleepy, mono-pop vibe. rated it 3.5 out of 5, lauding the consistent sharp hooks and energetic rock songs that maintained the band's signature appeal amid high expectations. Reviewers commonly praised the urgent, bright guitar riffs from and , alongside ' ragged, yearning vocals that infused the tracks with emotional immediacy and nonchalance. However, criticisms centered on a perceived lack of innovation following , with some outlets viewing the album as overly polished and repetitive, failing to push boundaries or recapture the debut's raw surprise. The record's media buzz was strong, appearing at number 11 on the Village Voice's 2003 Pazz & Jop critics' poll, reflecting its solid standing among that year's releases.

Reappraisal and legacy

Over time, Room on Fire has garnered increased critical acclaim, with upgrading its original 8.0 rating to 9.2 in 2021, praising the album as a "masterclass in progression" for its confident advancements in guitar work, drumming, and that built upon the band's debut without succumbing to expectations. This reappraisal highlighted how the album's refinements, such as Nick Valensi's expanded fretboard techniques and ' incorporation of more defined choruses, demonstrated artistic growth amid rock's historical tendency to penalize follow-ups. The album's legacy includes notable rankings in retrospective lists, such as NME's 2013 500 Greatest Albums of All Time, where it placed at number 360 for introducing an electronic edge to the band's sound while preserving its energetic vibe. Throughout the , it was frequently acclaimed in indie music retrospectives for solidifying ' role in the , with Pitchfork's 2011 tenth-anniversary feature on the band noting its careful variation that expanded their sonic territory without alienating fans. Room on Fire influenced subsequent acts, including The Killers, who cited The Strokes' early work as a catalyst for their own sound, positioning the album as a key bridge from the early-2000s garage rock revival to broader modern indie rock landscapes. In the 2020s, the album experienced a streaming revival, accumulating over 1.2 billion plays on Spotify by late 2025, reflecting renewed interest among younger listeners. Band members have reflected on its creation in interviews, with Casablancas describing the intense pressure surrounding its rushed production as a "‘If we don’t put out a record quick our careers are over’ thing," underscoring the challenges of following a breakout debut.

Commercial performance

Chart performance

Room on Fire debuted at number four on the US chart upon its release in late October 2003, marking the highest chart entry for the band at that time and spending a total of six weeks on the chart. In the United Kingdom, the album entered the at number two and remained on the chart for 23 weeks, reflecting strong initial interest in the follow-up to the band's debut. Internationally, Room on Fire achieved number one on the Scottish Albums Chart, number two on the Irish Albums Chart (with 25 weeks total), number three in (three weeks), and number six in both (six weeks) and (four weeks). The album's weekly trajectory showed sustained performance in during its first months, holding top-ten positions in the UK and for several weeks before gradually declining, while its US run was shorter and more front-loaded. On year-end charts, Room on Fire ranked at number 88 in the for 2003, buoyed by its late-year release and European momentum, but did not appear prominently on year-end lists due to limited chart longevity. In 2004, it placed at number 177 on the year-end albums , indicating continued but diminished sales carryover.
Chart (2003)Peak PositionWeeks on Chart
Billboard 20046
Albums (OCC)223
Irish Albums (IRMA)225
Scottish Albums (OCC)1N/A
Norwegian Albums ()33
Australian Albums ()66
Albums (RMNZ)64

Sales and certifications

In the United States, Room on Fire sold 597,000 copies by October 2006. The was certified by the RIAA on December 12, 2003, for shipments of 500,000 units, and later achieved status in 2021 for 1,000,000 units, reflecting combined physical and streaming equivalents. Internationally, the album received platinum certifications in the (300,000 units by the BPI on February 6, 2004) and (70,000 units by the ). It was awarded gold status in (50,000 units by ), (100,000 units by the RIAJ), and (7,500 units by the RMNZ). As of 2025, worldwide sales estimates for Room on Fire exceed 2 million units, bolstered by significant streaming activity that counts toward modern certification thresholds. Although initial sales lagged behind the band's debut album , the record has experienced sustained long-tail growth through enduring popularity and digital consumption.

Credits

Track listing

All songs on Room on Fire were written by , , , , and . The standard edition contains 11 tracks with a total running time of 33:05.
No.TitleLength
1"What Ever Happened?"2:54
2"Reptilia"3:42
3"Automatic Stop"3:27
4"12:51"2:33
5"You Talk Way Too Much"3:05
6"Between Love & Hate"3:16
7"Meet Me in the Bathroom"2:57
8"Under Control"3:07
9"The Way It Is"2:22
10""3:08
11"I Can't Win"2:35
The album was released in , LP, and digital formats. On the vinyl edition, side A comprises tracks 1–5 ("What Ever Happened?" through "You Talk Way Too Much"), while side B contains tracks 6–11 ("Between Love & Hate" through "I Can't Win"). The Japanese edition follows the standard 11-track listing with no major variants.

Personnel

The second studio album by , Room on Fire, was performed entirely by the band's core members, with no guest musicians contributing to the recordings. The lineup consisted of on lead vocals, on guitar, on guitar and keyboards (including piano on "Under Control"), on , and on drums. Production was handled by , who served as producer, engineer, and mixer for the album. Additional production credits include Steve Ralbovsky as A&R and as mastering engineer at Sterling Sound. For the album's artwork, the cover featured the painting War/Game (1961) by , used with permission from Zoe Phillips. provided the photography, while Brett Kilroe handled art direction and design.

References

  1. https://www.discogs.com/master/12403-The-Strokes-Room-On-Fire
  2. https://www.spin.com/2003/11/strokes-room-fire-rca/
  3. https://www.youtube.com/watch?v=zf04PMblrgU
  4. https://www.abc.net.au/listen/doublej/music-reads/features/20-years-the-strokes-room-on-fire-disappointing-sequel-defense/103024170
  5. https://bestsellingalbums.org/album/47632
  6. https://pitchfork.com/reviews/albums/7538-room-on-fire/
  7. https://pitchfork.com/features/article/7925-this-is-it-ten-years-of-the-strokes/
  8. https://genius.com/albums/The-strokes/Room-on-fire
  9. https://www.songfacts.com/facts/the-strokes/reptilia
  10. https://genius.com/The-strokes-what-ever-happened-lyrics
  11. https://www.loudersound.com/features/the-lost-recordings-from-when-the-strokes-worked-with-nigel-godrich
  12. https://www.elsewhere.co.nz/absoluteelsewhere/3126/gordon-raphael-producer-of-the-strokes-interviewed-2004-the-sky-cries-wary/
  13. https://www.shesfixingherhair.co.uk/blog/interviews/interviews-nme-september-2003-part-one
  14. https://www.allmusic.com/album/room-on-fire-mw0000693088
  15. https://www.stereogum.com/2240037/the-strokes-room-on-fire-turns-20/reviews/the-anniversary/
  16. https://www.shesfixingherhair.co.uk/blog/interviews/interviews-guitar-player-december-2003
  17. https://www.nme.com/news/music/the-strokes-308-1353976
  18. https://gearspace.com/board/interviews/1395525-interview-gordon-raphael.html
  19. https://insider.dbsinstitute.ac.uk/gordon-raphael-the-inside-story-on-producing-the-strokes
  20. https://www.popmatters.com/strokes-roomonfire-2496075377.html
  21. https://music.apple.com/us/artist/the-strokes/560289
  22. https://www.theguardian.com/music/2003/oct/17/popandrock.shopping4
  23. https://albumism.com/features/the-strokes-room-on-fire-album-anniversary
  24. https://www.nme.com/features/best-strokes-songs-ranked-in-order-2632356
  25. https://roundtable.beloit.edu/2024/11/13/an-analysis-of-the-strokes-whatever-happened/
  26. https://www.nytimes.com/2025/07/19/arts/peter-phillips-dead.html
  27. https://buffaloakg.org/artworks/k196433-wargame
  28. https://www.discogs.com/release/14760833-The-Strokes-Room-On-Fire
  29. https://www.discogs.com/release/373881-The-Strokes-Room-On-Fire
  30. https://consequence.net/2018/10/album-review-the-strokes-room-on-fire/
  31. https://musicbrainz.org/release-group/1e9db573-5671-301f-87fc-846a605fe35b
  32. https://www.billboard.com/music/music-news/update-strokes-kings-of-leon-team-for-tour-69268/
  33. https://www.setlist.fm/stats/concert-map/the-strokes-23d6982f.html?tour=23d60427
  34. https://www.concertarchives.org/bands/the-strokes?page=1&year=2004
  35. https://www.discogs.com/master/12395-The-Strokes-1251
  36. https://www.discogs.com/release/377413-The-Strokes-1251
  37. https://imvdb.com/video/the-strokes/1251
  38. https://www.youtube.com/watch?v=LPAVDHo1Elc
  39. https://www.officialcharts.com/songs/strokes-1251/
  40. https://dailyorange.com/2003/10/face-the-music-the-strokes/
  41. https://www.nme.com/news/music/the-strokes-384-1381925
  42. https://www.discogs.com/release/1409115-The-Strokes-Reptilia
  43. https://acharts.co/song/9064
  44. https://imvdb.com/video/the-strokes/reptilia
  45. https://www.ultimate-guitar.com/en/wiki/The_Strokes_-_Reptilia
  46. https://consequence.net/list/best-guitar-riffs-21st-century/
  47. https://www.discogs.com/master/215551-The-Strokes-The-End-Has-No-End
  48. https://genius.com/albums/The-strokes/The-end-has-no-end-single/q/release-date
  49. https://imvdb.com/video/the-strokes/the-end-has-no-end
  50. https://www.rollingstone.com/music/music-news/the-strokes-get-live-121975/
  51. https://www.legacyrecordings.com/2022/12/02/the-strokes-the-singles-volume-01-box-set-available-february-24-2023/
  52. https://open.spotify.com/track/2NpASZ796KewPmSDMHDhPN
  53. https://www.officialcharts.com/artist/10217/strokes/
  54. https://consequence.net/2020/04/the-strokes-10-best-deep-cuts/4/
  55. https://www.legacyrecordings.com/2023/02/24/the-strokes-the-singles-volume-01-box-set-available-now/
  56. https://www.nme.com/news/music/watch-lorde-cover-the-strokes-the-end-has-no-end-in-new-york-3209143
  57. https://projectrevolver.org/genre/rock/a-beginners-guide-to-the-strokes/
  58. https://www.metacritic.com/music/room-on-fire/the-strokes
  59. https://www.nme.com/news/music/the-strokes-49-1209315
  60. https://www.rollingstone.com/music/music-album-reviews/room-on-fire-99146/
  61. https://www.robertchristgau.com/xg/pnj/pjres03.php
  62. https://pitchfork.com/features/lists-and-guides/pitchfork-reviews-rescored/
  63. https://www.nme.com/photos/the-500-greatest-albums-of-all-time-400-301-1426436
  64. https://kworb.net/spotify/artist/0epOFNiUfyON9EYx7Tpr6V_albums.html
  65. https://www.nme.com/big-reads/the-strokes-cover-interview-2020-the-new-abnormal-2678118
  66. https://www.billboard.com/music/music-news/chart-beat-bonus-117-68271/
  67. https://acharts.co/album/13133
  68. https://www.ukchartsplus.co.uk/ChartsPlusYE2003.pdf
  69. http://www.ukchartsplus.co.uk/ChartsPlusYE2004.pdf
  70. https://www.billboard.com/music/music-news/ask-billboard-119-57038/
  71. https://www.grammy.com/news/strokes-is-this-it-20th-album-anniversary-julian-casablancas-video
  72. https://rateyourmusic.com/release/album/the-strokes/room-on-fire/
  73. https://open.spotify.com/album/3HFbH1loOUbqCyPsLuHLLh
  74. https://www.discogs.com/release/2812793-The-Strokes-Room-On-Fire
  75. https://www.discogs.com/release/1900092-The-Strokes-Room-On-Fire
  76. https://peterphillips.com/wargame-1961-the-strokes-room-on-fire-album-cover-2003/
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