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The Strokes for Rockin'On, December 2005 - English Translated Interview

THE STROKES The first report on the completion of The Strokes' tough and hard-hitting new album, "First Impressions of Earth"!

The guitar, the groove, the shouts, all turn into a hot, heavy blast that burns your ears. The Strokes' long-awaited third album, First Impressions of Earth, is a literal masterpiece that will make you tremble with the shock of the five of them being on fire and the solid response that resonates in your gut. Please listen to the prologue single "Juicebox" from the album that will be released soon. It takes only 35 seconds for the twin guitars to erupt ferociously from the cracks of the earth-soaked bass line and the sturdy rhythm to the gushing chorus. It's an energetic rock 'n' roll tune similar to their previous work "Reptilia," but the hasty development that skips the introduction and dashes straight to the heart of the song is shocking. The explosive speed and condensation of the work show that they have carved out their own music more directly with this work.

The seven songs from the album that arrived brought further surprises and excitement. The arpeggios, armed with the beauty of hard rock style, flowed torrents, and the four-wheel drive beats pounded out at full throttle. Just listening to the hard-hitting sound was incredibly exciting, and the catharsis of the sounds harmonizing closely together and climbing the melody's ups and downs was straightforward and cool. Julian's vocals, which are basically rough and awake, were exposed for the first time in a clear mix, and it was refreshing to hear him respond to the emotions of the songs with his passionate singing and ad-libs that made his voice crack. The popness of "Someday" and "12:51" and the breathtaking twin guitar interplay were not lost. But it was just easier to understand. A completely new dynamics and realism of sound was now flowing through their bodies.

"First Impressions" took nearly a year to produce at the band's own studio in New York. After initial sessions with Gordon Raphael, who worked on the previous two albums, the producer's baton was finally handed to David Kahn. His participation was quite surprising, as his representative works include works by Sugar Ray and Paul McCartney, but this selection was a wise decision. His ears and experience working with many mainstream acts have helped him to fundamentally refine the distorted soundscape of the Strokes, who are mocked as "the most popular indie band in the world" (it goes without saying that their fan base is indie-alternative oriented, even though they are signed to a major label), and successfully translate it into a more universal "today's rock" discourse.

"Is This It," with its demo-tape-like sound full of blank spaces, heralded the arrival of a new band with such outstanding musical sense that it could have been documented just by watching them play. With their second album, "Room on Fire," they expanded their tentacles into a variety of pop styles, but the aesthetic of the first album, which was easy to miss, remained fundamentally unchanged, with an approach that emphasizes sense and does not reveal everything, leaving the listener to fill in the gaps and spaces between the lines. At first glance, entrusting the work to the listener, saying "You can understand without me having to tell you everything, right?" is a smart and stylish way of doing things. However, there is a danger that it is perceived as a reliance on the listener, and that it is "avoiding a direct confrontation with the listener." Listening to this album, which eliminates ambiguity and suggestiveness as much as possible and where every sound functions with a clear intention, you can feel that they have finally become aware of this point and are trying to make a major breakthrough. With this album, we may be meeting the real Strokes for the first time. (Mariko Sakamoto)

JULIAN CASABLANCAS & NICOLAI FRAITURE INTERVIEW

I think they’ve captured that sound that's going to knock the doors down and take the band to the next level.

Interview: Mariko Sakamoto Photography: Autumn de Wilde

I'm happy with "Room." The reason we changed the production this time wasn't because of a drop in sales or dissatisfaction with the previous film, but because we wanted to try a new direction (Nikolai)

● It's been a while. How have you been? Nikolai (hereafter N): Yeah. I'm doing great. ● I'm glad that it seems like you’re enjoying the interview this time. Julian (J): (strained laugh) N: Yeah, I'm really enjoying it. (smiles)

● I have the impression that the Strokes aren't very good at interviews, but this time, unlike with their previous album, you seem to be quite proactive in speaking. N: …I wonder if that's what it's going to be like? J: Maybe.

● I think that's because the new album is so amazing that I want to talk about it. I've listened to eight songs, and they're all great! N: Thank goodness. J: Really? Thank you very much. ● Yes. I thought they were really good songs, and I felt like the next album will open new doors for the band and take The Strokes to the next level. N: Wow... (surprised) J: Thank you very much. I'm glad to hear that... Well, I hope it turns out exactly as you say (wry laugh) ● It's absolutely accurate. Please trust your intuition. J: Okay, okay, I believe you (laughs). Thank you.

● At the same time, the new album is full of surprises. There's a considerable change in musical style, and in many ways it's become more masculine: the sound, the arrangements, and the vocal mix. J: (widening his eyes and half bursting out laughing) Ahhhhhhh! ● No, it's not "manly". However, for example, some of the songs have been arranged in a spectacular way, and even feature flashy guitar solos on par with those of metal bands. I think all the elements have been trained and fleshed out more than ever before, and when I listened to it, I felt a sense of accomplishment that said "This is it!" This is a very powerful album. N: I guess so. Thank you. J: ... (a little taken aback by her momentum) That’s good. Hahaha. ● —That's it? (laughs) J: (laughs) No, I just feel like I'm being praised to the max. It’s like once you curry favour with me and get my guard down, you’re going to bite me! Jump down my throat like that, no? (laughs wryly) ● (laughs) It’s not like that. J: Hahaha, kidding, kidding!

● So, first I want to ask you about the changes in this album. Perhaps the most positive aspect of the new album is that, unlike the previous one, you were able to take your time and work on the production after building your own studio. What do you think about this? N: Hmm... I think the biggest role in this album was played by producer David Kahn. So, speaking of our album, I think we got along really well with him. Of course, building our own studio was very important, and it was just as important as David's presence. That way we were able to take our time and work in our own space. But David is a really skilled producer who knows exactly what he has to do, and he's the perfect person to make a thicker,... how should I put it, yes, bigger sound. At the same time, using our own studio meant we were able to work comfortably and without hesitation, and thanks to that I think we were able to keep our own style and the style of this band. David brought out that style of us and pulled it up a little higher. J: Yes, I think you're right. And one more thing... well, in terms of musical style, I don't think we changed that much with this album. We just tried to keep changing and evolving. But, as Nikolai just said, the various factors in the production of this album, like having plenty of time, I think those factors helped us to grasp this sound. It's like what you said earlier, the sound that breaks down the door and takes the band to the next level. So… well, I think people will be able to understand what we’re doing and respect it… so that they’ll be able to more accurately interpret what it is we’re doing. Of course, we've always done that, but there are a lot of people who don't see beyond the sound... so I think this time it's a little easier to get into. That being said, we didn't intentionally try to change our style in order to achieve a certain sound or anything like that. I think it's the result of us trying to build on the foundation we've built up until now. As for the performance, it was a natural growth as a result of hard work, but I think the biggest factor in us being able to reach the next stage was the change in the acoustics.

● So you weren't changing direction because you weren't satisfied with your previous album, Room on Fire? I really love that album, but the reality is — and this is only in comparison to your first album — the reaction was lukewarm, and it didn't generate the same excitement as your first album, and sales actually fell. N: Hmm…

● Have you ever reflected on what went wrong with that piece and thought about trying to do it differently this time? J: (takes a deep breath)...Well, it's not like we all thought about it too much. More than that...well, I think we just wanted to keep an open mind about everything. What I understood about the previous album was that it was an album that was made in a hurry, at least that's what I think. So, this album is different, and I think it was more about us doing what we know we can do and proving to our listeners what we can do. At the same time, it was also a kind of self-reporting. It was about proving our abilities to ourselves. We definitely wanted to reach the next level, and this time we simply had the time to do it. So, we didn't think, 'Let's change things' from the beginning of the recording. We started by trying things out with Gordon (Raphael, producer of the past two albums), and both David and Gordon were involved. In other words, we didn't start making it thinking, 'The sales of the last album fell, so this time we have to do it this way.’ N: Yes. We never even discussed the fact that sales of "Room" were not good or anything like that. Besides, I think it was a very successful album— J: Right. N: I'm satisfied with the outcome of that work. So the reason we changed production companies this time wasn't because sales had dropped or because we were dissatisfied with the previous work, but because we wanted to aim for a new direction for ourselves and try something we'd never done before. J: —But we understand that other people think that the reason for the change this time is because of that... But I wonder, if we had recorded this album in exactly the same way as the first and second albums, what would have happened? I think everyone would have said, 'It's the same as before!' But even if the songs were exactly the same, and even the melodies were exactly the same, I think that the reaction to the sound this time, where we changed the way we did it, would probably be, 'It's a really cool song, and the arrangement is cool.' It's interesting that the reaction changes like that even though the content is the same... It's not particularly important, but it's interesting. Of course, I think it's good that we changed this time, and I know that this album wouldn't have been well received if we had done it the same way as before.

It was a recording where we were fighting back against an overbearing, visionary producer (Julian)

● About David Kahn, the Strokes are a close-knit, ambitious, and high-maintenance band. It seems like it would be difficult for an "outsider" like him, who had never worked with the Strokes before, to get involved, but what was the difference between him and Gordon Raphael? N: Yes...Gordon and David are completely different types. Gordon is better at capturing the atmosphere and feeling. So he sets up the microphones here and there to pick up the sound, presses the record button and keeps the tape running, and we don't do much with what we record. In that sense, David Kahn is completely different. I think he is very precise and detailed about the sound. So, in terms of "recording music", in other words, in terms of recording technique, his way of doing things is at a more intense level than Gordon's. And also, he had a much clearer, much clearer vision of what he wanted to get out of the band. Well, that made the recording process difficult at times. His way of seeing things was different from our own, and we sometimes clashed. So, I guess you could say that this album was about... well, you could say it was about finding the right balance between what David thought was 'this is it' and what we thought was 'no, this is what we want'. He definitely had an intimidating side, too… J: We were resisting David. That’s exactly what the recording was like. N: Julian was the one who worked closely with David. I'm sure he has something to say. (He then turns to Julian.) J: Hmm, well, I think what you just said describes our relationship with him quite accurately (laughs wryly). Well, that's why we've relied on everyone we've worked with, even if they were outside the band... But even though we trust them, if we let them do what they want, it ends up being a little different from what we want. I don't want that part to be taken over by the producer. That's because we want to keep it for ourselves. So, there were times where David was too focused on making the album in line with his own way of listening to music. Well, it's not like he himself said, "Let's do this to make it more pop," but the way he listens to music is, how should I put it, pop, accessible, easy to listen to, that's the standard. So sometimes he would change the tone, which was a bit of a hassle for me (laughs). But, yeah, his recording technique was great, and although it was difficult, I think in the end we were able to find a happy medium.

● Did you write all the songs this time too? J: ...Well, in most cases I brought in an idea and we all developed it together, but yes, there are more collaborations on this album compared to the previous one. I think with this album we have made a big step forward in the direction of functioning more efficiently and quickly as a band. When someone brings in an idea, we all improve it into something good (snap!) That's right, so I guess you could say we have become a more efficient, faster-working machine (laughs).

● So this album was made as a collaborative effort by everyone. It seems like the recording and writing sessions were a completely different experience than ever before. N: Yes. Of all the works we've done so far, this is the one where we worked the hardest together. J ...But I don't think it's fair to compare the previous two albums because we didn't have as much time to work on them. When I brought a song idea to the studio, I had to start working on it right away, try different ways one after another, and finish the song quickly. That's not a very relaxing production environment. This time, even if a song didn't take shape smoothly, I just put it aside and worked on another song. I didn't push the work forward, and well, at least I don't think there was any forcing something that didn't work out with this record.

● What is your own opinion of this work at this point? N: Hmm. It's a little too early to answer that question, since it's just been completed, but... if you ask me if I like this album, my answer is yes. J: Heh heh. N: (To Julian) But don't you think so? J: That's a very honest opinion, especially since it's not something you say after the album has been released and everyone has listened to it. N: (looks a little confused) I see... Well, I don't know what everyone thinks, but I like this album. So the answer is yes! ● (Laughs) Julian, how about you? J: It’s a yes for me too. I like it (laughs). And now I can do live shows again, so I'm really excited. I'm really looking forward to doing live shows.

Where does this album come from? The answer is complicated and not immediately clear to us. We can't point to "this and that" (Julian)

● So, according to an interview — or rather, a cover story in the NME newspaper — J: Ah (bitter smile). NME. Seriously... it's all the time. That was the first interview I had for this album, and because of that, every interview I've had since has always brought up the NME article (laugh). I can't help but think that all the journalists around the world will be writing articles based on that NME article. ● My apologies. I really am sorry, but what I found interesting about the NME article was that you mentioned bands with hard-core sounds like Muse, System of a Down, Queen, and The The. J: (wry smile) I think Nick’s the one who mentioned System and Muse though? ● Yes. However, I had never previously associated these bands with the Strokes, so that was quite a surprise to me. J: I’ve never connected them either. ● (laughs) So, when you were making the album you listened to a lot of their work and were influenced by them or something like that? J: So... after we finished making this record, I listened to Queen's albums a lot, but the recording work was finished (laughs). People ask me, "What kind of works were you listening to?" but I don't know either... I don't think that kind of thing influences the songs I write, and when I write songs, I think everything I've listened to up until now unconsciously seeps into the song. So... the names of the bands that appear in that article are an answer to what kind of music we were listening to at that time. But if you ask, "Where did this album come from directly?" the answer is not so simple and clear, it's a bit more complicated. If we were asked to give an answer, we would have to sit down together and analyze it in detail. It's not something that can be simply pointed out as "this, this, and this." ● I see. But it's true that the sound of this album is more hard rock/metal-like and intense than ever before, and some of the guitar solos are as fast as Eddie Van Halen's. So I thought, "I see." N: (laughs) J: That solo was just... I wanted to make it a little crazy, so that's one of the things I did. For Albert, playing a crazy guitar solo like that is just fun. But as far as the sound goes, I think I sometimes have a Nirvana-like feel to it... Or rather, I'm aiming for Nirvana. Well, I don't know. Well, I've listened to so much music, and I don't know where to start talking about it... Maybe it's just a little bit of music that I like that appears in the song, or the style of other works that appears... (thinks for a while) Sorry, sorry, I'm starting to talk about random things.

● Has the album title already been decided as "First Impressions of Earth"? Or is it still under consideration? J: Hmm... No, I think that's pretty much it. The title is pretty self-explanatory... It's a literal title. When this album was nearing completion, how should I put it, I was thinking about various things and writing down what came to my mind on paper. While doing so, that phrase came out, and when I saw it, I thought "That's cool". And that phrase matched perfectly with what I felt when I looked at the list of songs I wrote for this album... So, yes, it really is exactly like that, "First Impression of the Earth". It's an objective list of thoughts and comments on universal things, the song list of this album looked like that. As I was looking at the song titles lined up, I thought that if I were to name this list, that word would be it.

● Is that so? This strange album title made me think of a person standing a little distance away from the world, watching it. I felt like it meant that you have a feeling of being somewhat isolated from what is happening in the world, or from what you experience every day. J: Hmm... the feeling of alienation… ● For example, in the song "Ask Me Anything" on the album, you sing, "I have nothing to say / Nothing to give / No reason to live." J: Hahaha (bursts out laughing) ● I don't take the heavy lyrics "There's no reason to live" literally. However, I wondered if you’ve always felt this kind of distance and resignation. J: Hmm...I think that feeling of alienation can also be included in the list of 'comments on universal things'. (laughs) In other words, it's not particularly the central theme of the album. And personally, I don't feel particularly alienated. Well, I think that everyone feels that kind of alienation when they are younger...when they become conscious of things. At about 14 or 13 years old, when they are forced to realize that they are just a monotonous and mechanical part of the system. But for me...the song "Ask Me Anything" isn't about saying "I have nothing to say". Rather, it's about how it's sometimes difficult to express what you want to express with a proper purpose. I try to do it, but sometimes I feel like it didn't work out, I failed... (laughs)

● But musicians have to express themselves through music, and there are cases where they are asked to speak on behalf of many people on larger social issues. Even so, do you admit your powerlessness and say, "I have nothing to say"? J: Hmm... (takes a deep breath) It's a complicated issue, and a delicate and tricky one. I... so I think that we shouldn't worry too much about things that are out of our control. That's one of my thoughts. Because sometimes I feel like I can't control anything, and I feel like I'm not even in charge of my own life (laughs). On the other hand, I also feel that I have a duty... so I try to make things positive in the best way I can. I think sometimes I think I have to have a positive influence. So, yeah, that's the hard part, the tricky part, the complicated part, because it's really hard to have a positive influence. So I think that leaving things a little bit ambiguous when you're trying to do something helps you to try to figure out what it is that actually connects everything together. And also... sometimes I feel like I'm kind of stupid when I explain my thoughts and opinions in detail (laughs).

● Some people criticize the Strokes for being ambiguous and saying that they are "a band that has nothing to say," and it's certainly true that you are not a band with a strong message. J: …Like Rage Against the Machine? ● Yes. You're a band that throws your opinions at the listeners, and I think a lot of people want that from a rock band, to have a strong attitude that draws people's attention and makes them listen. This album, at least in terms of sound, is a powerful sound that makes you want to listen whether you like it or not. Do you think that the Strokes are now more open and aggressive, and ready to face a bigger audience? J: Well... I think we're definitely getting closer to that level. I don't know. But I feel like this album will be a good stepping stone to the direction we're heading in. This is just my personal opinion, and maybe it's not something I should say here. Also, we're still working on the new material (※The recording itself was completed, but the jacket and other final work was still left), and at times like that... I don't really want to talk about this kind of thing. You know, we're like, we've finally put one foot in the gap of a slightly opened door, and we're trying hard not to close it again. But I hope this record will help us open that door. And then I want to move forward from there.

"We could make something good," we had the conviction. But we also had the raw fear that people would say, "The Strokes are over." (Julian)

● Also, what I felt strongly after listening to the eight songs was that you guys have finally let your guard down and created an album without worrying about what others think is cool or what is considered uncool. J&N: (wry laugh)

● So, I think this is going to be a great album, but do you think it bridges the gap between who you really are and what the public thinks the Strokes are? J: Yes. I hope so. Most of those images are exaggerated and exaggerated rumors. So... I hope that with each work, at each stage, we can get closer to our true selves, and to do that, we have to try different methods. So I hope that this album will be received as an album that helps people understand us a little better after listening to it.

●What about you, Nikolai? Do you ever feel a gap between how you are and how the Strokes are perceived? N: Hmm... I wouldn't call it a gap, but what I think is that there are a lot of people who judge us too easily. I think that's where the gap lies. ● Oh, I see. N: For example, it's really hard to deal with people who, just by looking at our photos, immediately assume that we're a "this kind of band" or "that kind of people," and don't even bother to listen to our music. Even if those kinds of people do listen to our music, they only give it a quick listen and immediately form a judgement about the work. On the other hand, there are also people who are more open-minded and listen to music with a broad sensibility that welcomes new things, and I think those people will enjoy what we put out.

● In the end, you plan to include a total of 14 songs, right? J&N: (nods) ● There are still six more songs. What are they like? Are they a different type of song from the eight we've listened to this time? J: I think the songs you haven't listened to yet are "The Other Side," "Killing Lies," and "Fear of Sleep." I'm not sure which ones you haven't listened to yet. Can I see the track list? (Looking at the notebook with Nikolai). Um... Oh, there's a note saying "Blondie-like"! (wry smile) ● (sheepishly) Sorry. J: (laughs) That's right, oh, "Red Lights" is missing. What else is there? N: "Evening Sun." J: Ah, that's right. So that's six songs. The ones I haven't played yet are... how can I put it... more spooky. ● What, it's even more "eerie"?! J: No, I don't think it's exactly the same as "eerie"... I just want to say that it's stranger than the 8 songs I've shown you guys, in terms of the vibe of the song, on a technical level. I haven't really done songs that develop like that before, starting slow and then getting hard. Also, "Red Lights" is a two-guitar song... a Flock of Seagulls-esque self-absorbed guitar solo, performed with two electric guitars (laughs). But, yeah, I think the 8 songs you've heard are champion-level songs. That doesn't mean you'll only like the 8 songs you've heard. The other 6 songs are cool and deep, even if they're not straightforward. Well, it's hard to describe what they're like in words... but I hope you'll like the rest of them too. That's because we're a little scared too. What if the whole album gets leaked on the Internet before we release it? (The first single, "Juicebox," was leaked on the Internet before it was released). So, right now, we can't let you listen to all the songs. Sorry.

●Yes, I understand that situation. Also, I feel like there are more dark and serious songs this time around compared to the previous two albums. Why is that? J: Hmm...? What do you think about that? Other people have told me it's a positive album. ● Yes, it's a powerful work, so in that sense I think it's a positive record. J: It's funny. Other people say (with a smile) 'This one sounds happy!', but then you say (with a frown) 'It's a dark piece...' (with a wry smile). I wonder which it is.

● (laughs) I think "Room on Fire" is a very energetic and excellent pop album, a work that challenges various pop styles in one album, but in comparison, this album seems serious and dark. Why is that? N: Hmm, that's... (says with a pompous expression) J: Hmm, is that so? I don't think it's a particularly gloomy or dark album. Maybe it's a little more serious than before... But I think there's still a sense of teasing people this time. Right? I don't think we'll become a completely serious band... Well, we'll have to wait until the next album to know. I like putting playfulness and jokes in music like that, but if we're literally "playing around", it doesn't work for the listeners. It's not funny at all. At least, I think that's the case with music.

● It took almost a year to complete this album, but looking back on that long recording process, what do you think the atmosphere was like during the sessions? J: It was a cycle of ups and downs. ... How should I put it, we were kind of drifting apart from each other... (long silence) Umm, it was... I wonder? Sorry, I can't answer that question (vague).

●It seems like it wasn't smooth sailing, but do you think that was because you felt a lot of pressure to make a definitive album and break through to a new level? N: Of course (simply) ● Hahaha, that's right. J: (laughs) What I felt was... we were all aware of the pressure, and we were anxious. We all had a strong belief that we could make something good. However, in the back of our minds, or maybe just out of the blue... well, it was just something we felt for just a moment, and I don't know why it came up, but somewhere in our hearts, we were thinking, "This is the end of The Strokes. It's obviously no good" (laughs). We had to make sure we didn't make that kind of album. So we had a raw and real fear. But we absolutely didn't want to make that kind of album.

#bands #the strokes #julian casablancas #nikolai fraiture #fioe era #rockin'on #interviews #my translations #i mean i proofread the ocr then put it through google translate and edited the output for clarity where needed. for transparency's sake #julian's cynicism when the interviewer gushes about the album is so 💔💔#for a better explanation of 苦笑 which i translated variously as wry/strained laugh/smile look at this stackexchange thread ->#https://japanese.stackexchange.com/questions/3629 #is any of this actually new and interesting? idk LOL #but at least i learned some new japanese words

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