Known for their electrifyingly catchy guitar riffs and droned vocals of lead singer Julian Casablancas, The Strokes have been pioneering the indie garage rock circuit since they first came onto the scene with their 2001 debut record, Is This It. Now, with five studio albums under their belt over the span of 15 years, the band is returning to form with their latest EP release, Future Present Past. The name of the EP fits their reminiscent style quite well, mixing their classic progressive guitar riffs with newfound elements that have given the band a recognizable, but fresh, sound.

After recently sharing a lyric video for their new track “Drag Queen”, The Strokes are getting political with their zany visual for their latest song, “Threat of Joy”. The music video, which was directed by Warren Fu, begins with the band about to film for another song on the EP, called "OBLIVIUS".

Suddenly, before the band can get started, a group of special agents break in to steal the footage, prompting this message on the screen: “Due to circumstances we are not at liberty to discuss, we are unable to present the music video for ‘OBLIVIUS'. Instead, please enjoy a special presentation of the Strokes in…‘Threat of Joy'.”

Interestingly enough, the band seems to be going quite meta in the video, as Casablancas recently told Zane Lowe on Beats 1 that they actually intended to make an actual video for the song "OBLIVIUS", but it got too political.

So, instead, fans received a special music video for “Threat of Joy”, which features the five-piece band playing live, while men with guns secure the music video set around them, while other people in pig masks try to steal more of the footage. It seems that their politically-charged views still made their way into the “Threat of Joy” music video, as these pig masked-men represent the corrupt thievery happening on Wall Street. As a SWAT team carries Casablancas away, the pigs sit gathered at a table smoking cigars and throwing money around.

The song itself is evocative of the classic Strokes sound, featuring bright guitar work from Nick Valensi and Albert Hammond, Jr., quirky drumming by Fabrizio Moretti, steady bass playing by Nikolai Fraiture, and, of course, the political and sexually-charged lyricism we’ve all come to expect from Casablancas. “I’m gonna take what comes my way/take what they give me,” the lead singer croons, telling his fans that he and the band will continue taking life as it comes.