He appears to have slightly more hair on the right side of his head than the left—it’s patchy and long and angelic in that familiar tattered way that is becoming increasingly spooky as he ages. He’s decided not to say much about himself—he’s never really said much about himself; he is infamously mumbly, awkward, sometimes confrontational—but he keeps slipping up.
—  GQ Magazine about Julian Casablancas (x)
Watch on theroomisonfiree.tumblr.com

Julian Casablancas & The Voidz at Festival Ceremonia - Mexico

(we need gifs of this, please people!)

Lyrically, he’s just as formidable. Over 12 tracks, Casablancas finds a middle ground somewhere between the poetry of Jim Morrison and Cedric Bixler-Zavala’s acidic storytelling. These are political songs, sure, but for a politics of the mind. They’re internalized parables crisscrossed with scattered self-deprecation and dialogue. On the very hazy “Xerox”, he sings, “Tomorrow is laughing, money breeds tyranny,” before admitting: “I’m the worst, I’m the worst.” It’s strange, but as he later states on the aptly titled “Nintendo Blood”, “They like to change the rules as they go.”
—  (x)
Whereas Phrazes was a slick indie pop album thanks to Jason Lader (Maroon 5, Rilo Kiley) and Mike Mogis (Bright Eyes, The Faint), Tyranny is a grimy bedroom rock recording, as if producer Shawn Everett (Weezer, Pete Yorn) tossed a couple of mics behind a radioactive television set. Zero in on the guitars for “M.utually A.ssured D.estruction”: They sound like lightsabers. Revisit the drums on “Father Electricity”: Are those paint cans? How about that optimistic surprise of a closer, “Off to War…”? It’s an analog paradise in technicolor.
—  (x)