#crossbeat

[fionaapplerocks]

Fiona Apple in Crossbeat magazine, 2000. photos: Katsumi Omori

[cherrylng]

Green Day [CROSSBEAT (April 2000)]

Photographer: William Hames

[bmoviebabylon]

CROSSBEAT MAGAZINE | DECEMBER 1997

Thanks to these high quality scans by @ruinedholograms I was able to translate this interview into English. Do not repost without credit.

I've used the word “I” a lot, but can I keep on making suicide the main theme? If it's always the same, there are less possibilities.

Nine Inch Nails have consistently championed new sonic frontiers and pushed the boundaries of pop music. As shown by their selection as one of Time magazine's “Most Influential People of 1997,” anticipation for their new album, currently in the recording process, has now reached its peak. Trent Reznor is the true contemporary “last piece” filling the void left by the end of an era! Three years after the 1994 masterpiece “The Downward Spiral” that left an indelible mark on rock history, he produced two soundtracks. As the mastermind behind Marilyn Manson and a collaborator with David Bowie, he has proven his genius and become one of the most effective sound creators of our time. What is his next move? An exclusive, long interview where Trent Reznor reveals his latest vision in full — the boundless musical horizons he pioneers in his new work “The Fragile” (working title), which is both a “decisive blow” to the current state of music and inevitably carries the meaning of an answer for the future!

This album distorts Prince style R&B and funk elements through an Aphex Twin style approach. It sounds like the stereo's exploding.

[first part is cut off (page missing) something about “Glam guitarist Robin Fink”]

Wasn't drummer Chris Vrenna forced to quit?

Oh, there's absolutely no way Vrenna will ever join this band again. I don't know how much I want to talk about this. For now, every single note in every single Nine Inch Nails song is mine. Every single idea, stage design, and costume was my creation. But I know for sure there are people who, you know there's always someone who starts envying others just because they can't afford it themselves. Those guys just don't see the big picture of how much I've put into this band. Even though I rented this tour bus, and even though I'm the one composing and performing, they still hate me! To guys like that, all I can say is, “Sorry I can't even pay my own electricity bill!” This kind of thing happens in the band sometimes”, Trent adds casually. “Manson and I aren't as close as we used to be.”

Really?

Well, you've gotta face reality. I've been in this business longer than him, so I've seen people become famous and then lose their edge, or others just blend in. Now I'm seeing Marilyn Manson's personality really take off. Just a little bit of fame can change a person this much.

He’s signed to your Nothing Records, right?

Ah, it was because of Marilyn Manson that this label gained recognition. Manson will always be a dear friend to me.

Yet, after you joined the production of “Antichrist Superstar,” did a rift form between the two of you?

When I joined the ranks for “Antichrist”, my life was essentially put on hold, it took 5 times longer than it needed to.

You’ve got composer credits for 3 songs on the album, right?

I tried to contribute to Marilyn Manson's songwriting. I said, “Let's put in a chorus you can blast in the car.” That idea is what made this record so successful. Marilyn Manson didn't want to be dismissed as just a message. I mean, it wasn't for my benefit—they needed good songs for themselves.

Wasn't it years ago that you and him first met at a small club when Marilyn Manson dropped out of opening for Nine Inch Nails?

Yeah, there was this long speech. Manson said something like, “I’m only doing this to sell T shirts”. I thought that way of thinking was interesting because it was so different. I’m not doing this for recognition, or so I can date supermodels. I’ve never dated a supermodel lol. That’s not why I make music, but Manson is different. He has a different take on fame, the way he thinks is, “I’m going to be famous, I’ll become famous no matter what”.

During the early stages of the “Antichrist [Superstar]” recording sessions the relationship between Manson and his former guitarist Daisy Berkowitz was apparently “utterly unproductive”.

After Daisy left, Twiggy (bassist) bought in loads of new songs. They weren’t bad songs, but some of them sounded insane, the same riff repeated over and over, like some drug rock I’ve heard a million times before. I’m about 80% satisfied with how the Manson album turned out. I think it would have been better if I’d have been able to do things my way. Oh well, at least it turned out pretty good.

Nine Inch Nails continued to put on extravagant, over-the-top live shows and cultivated an androgynous image, effectively paving the way for Marilyn Manson.

I remember seeing Kiss as a kid. A rockstar should be epic. You don’t want to see a guy that looks like he works at a gas station on stage, do you? I want to see blood, fire, explosions and boobs at a live show! It was just for a little while, but we did that kind of thing. Manson took it to the extreme. I think that was a good thing. Unfortunately, I think countless bands will try to imitate Manson. Musicians that have never done anything like that will see Manson and say, “we can do that too”.

Marilyn Manson is often seen as a cartoon character, while Trent Reznor is well respected by many. Time Magazine called you, “the most important musician of the 90s”.

It’s a great honour! But what does it really mean? If I think about it too much, I’ll go crazy. Oh no, it might already be happening!

New work nearing completion! A comprehensive look back at the journey leading up to this point

This Autumn, producer Rick Rubin joined Trent’s studio full time, finally NIN’s third full album is beginning to take shape. Oh, the road to get here has been long, really, really long (crying). It's been so long I've lost track, so let's revisit Trent's trajectory over the past few years since “The Downward Spiral” and “Further Down the Spiral.” Trent recently revealed that for his next album, he received songwriting advice from David Bowie, who he toured with 2 years ago, “write as if you were a third party. I myself once fell into this deep hole, but I know you can climb out too”. Fatherly advice (in fact, Bowie is the same age as Trent's dad), it’s because of this the story of these two is so heartwarming. Their emotional bond remains strong to this day, as evidenced by Bowie's 1995 single “The Hearts Filthy Lesson.” Trent, who created an alternative remix, also provided several remixes for Bowie's next single “I'm Afraid of Americans”—and he even appeared in the music video!

This interview, which brought to light his recent relationship with Marilyn Manson—described by Trent as “like brothers” in the past and widely reported as a honeymoon period—is shocking. So, was “Antichrist Superstar” (1996), for which he produced several tracks and provided songs, the last [Manson] work featuring Trent?  Or could more collaborations be possible if they rebuild their relationship? Meanwhile, what Trent has shown for the first time in recent years, is his exceptional skill as a soundtrack director. In 1994's “Natural Born Killers” commissioned by Oliver Stone, Trent's signature sound and word sampling sensibilities were prominently featured, solidifying it as a major ‘work’ that transcended the film itself. Also, the soundtrack to “Lost Highway” by David Lynch —who Trent himself describes as, “my longtime hero”— is still fresh in my memory. Rather than hacking up and reconstructing the sound like with “Natural [Born Killers],” this work masterfully captures the elusive charm of the film's own blurred progression—a challenging motif. Alongside Bowie, Manson, and The Smashing Pumpkins, it contained the long-awaited new NIN track “The Perfect Drug.” This masterpiece maximizes the appeal of drum ‘n’ bass while encapsulating an organic emotional high within its pop sensibility. It has also been remixed by Meat Beat Manifesto and The Orb for the EP “The Perfect Drug" Versions” ... and still we await the album, right up to the present day.

(I am not a professional translator or a native Japanese speaker. I just noticed recently that the few Japanese NIN interviews out there hadn't been translated so thought I'd use my Japanese skills for something other than yapping to my friends or reading dumb online discourse)

[sophaeros]

the strokes for crossbeat, november 2003

THE STROKES

Finally, the new work is complete! All members interviewed

Where should we go? That's what comes across in this album. It means we're getting closer to our goal

The day when "Room On Fire," born from the friendship of five people, will take the world by storm is coming soon ── The Strokes, who continue to "roll" with overflowing originality, reveal their latest feelings!

Interview: Shoho Koguchi / Interpreter: Izumi Kurihara

All pix by Yoshie Tominaga

Things have been going on since the news of their new album last month. The Strokes have finally completed their second album. The title is "Room on Fire". As previously reported, the album contains 11 songs, and the long-awaited Japanese release date is set for October 22nd.

I waited until the deadline to hear the album, but I was unable to listen to it. Based on the impressions from the listening session held about a month ago, "Room on Fire" is unmistakably The Strokes' mark. The minimalist ensemble that was prominent in the first album remains as the basic axis, but it also has the physical strength and experience acquired through long tours. It feels like it has been built up secretly while keeping the same carefree atmosphere. Right now, there's only one single "12:51," but the guitar that leads the whole thing like a keyboard is very memorable. There are many songs that show the charm of a rock band to the fullest, such as the aggressive and dramatic "Reptilia" and "What Ever Happened?", where you can enjoy Julian's shouts.

We want to be better than we are now and give everyone something that they can call "one and only"... but we've never thought of ourselves as something special.

And — and this is the most important thing — these five guys have overwhelming originality. Since the debut of The Strokes in 2001, the phenomenon of numerous rock and roll/garage bands gaining worldwide attention has been talked about everywhere, but these guys already contain the "unmatched core" of pioneers. They are simply pursuing a simple sound, yet they have such an absolute presence that they have given birth to bands that follow them without even realizing it. It's similar to the fact that The Ramones have always been The Ramones. Their strength, unfazed by their surroundings, is a unique strength.

──I had the chance to listen to your new work yesterday. The songs have become even more compact, and the performance is tighter and more compact.

Julian Casablancas (Vo: J): ...Is that a good thing? (laughs)

──Of course.

All 3: That's great (laughs).

J: Oh, by the way, thank you so much for putting me on the cover.

Nick Valensi (G: N) & Nikolai Fraiture (B: NI): Thank you very much.

──You're welcome (laughs). What do you think about the album?

J: I like it... well, I really like it. I was working on it right before I came to Japan, and there are still a few parts I want to change. I'm still talking to Gordon (Raphael: producer) about it... so I don't think it's finished yet. Also, there are two songs you guys haven't heard yet. If I add different flavors to it, the overall impression will be different.

N: But even though it's not finished yet, it's still something we're very proud of. I say that for everyone because we worked really hard on it. It's a clear representation of who The Strokes are now.

──The Strokes are truly one and only. Every sound the five of you make is overflowing with originality, and you’re unlike anything else.

J: Thank you. That's nice.

──When you were making it, did you also feel a strong sense of accomplishment?

J: Ummm... (laughs)

N: Haha (laugh)

J: I've never thought of it that way. I do have the feeling that I want to be better than I am now, and that's something I'm always thinking about. I wish I could give everyone something that they can call "one and only"... But I've never thought of ourselves as something special.

──The shout in "What Ever Happened?" was very powerful. You also raised your voice at key moments in other songs.

N&NI: Ahahaha!! (laughs)

──There's shouting and singing,

N: But no rap (laughs)

──Hahaha, that's true, no rap (laughs). Julian, in terms of vocalization, were you actively looking to bring out a side of yourself that you hadn't shown before?

J: Hmm... that's a good question... I definitely wanted to do something different with each song. That's different from when we made our first album. I wasn't thinking about that at all with our first album, it was just a feeling as the songs were being completed. I think "Meet Me In The Bathroom" is a song that feels close to the first album (it was performed at their first visit to Japan in 2002). That song was the first one we made for this album. The last song on it... you haven't heard it yet... it has a very restrained feel to it. Consciously. When you listen to that song, I think each one sounds even more distinct. Well, you could say it's the result of the natural development of each sound. It's true that with our first album we weren't thinking about that kind of thing. Is that the answer? But it was something like that, wasn't it? (asking for agreement from both of them)

──The guitar sound is really elaborate. I heard from Albert (G) yesterday that Nick was the main cause of this.

N: Yes, I agree. In terms of tone, I would say this album has a lot of variety. But not only that, in terms of songwriting, I think the guitar melody is stronger this time than before. On the last album, one person played rhythm and chords, and the other played lead, but this time, Albert and I both play melodies and counter melodies at the same time. In that sense, I think it's more refined than before.

── I think the live feel has increased a lot compared to the first album. How much attention did you pay to "performing live"?

J: No, I wasn't trying to make it sound like a live performance. I wanted to keep the same vibe. For the first album I used a computer, but for this album I used a mixing board and recorded in a so-called studio environment. Of course the first album was also recorded in a so-called studio environment... Maybe it feels that way because I didn't use any computer plug-ins (laughs)... Probably... This time I was conscious of making it sound more natural, so I think that's why it gives off that impression. How can I put it... There's not much distortion...

── Rather, I get the impression that the five of you have become more united and powerful.

N: Yes, I think we've grown as a band, or rather, we've become more involved as a band while working on this album. Thinking back to when we made our first album two years ago, I think that's true. At the same time, our knowledge of the studio has also increased, so we've come to understand the process of working in the studio, the kind of sound we want to record, and how to achieve that. So...

J: When you start wanting to do this and that, it can get messy, but it's a strength that we've come to understand how to do that. With this album, we can see where we should head. In other words... I think we've gotten closer to our goal. Just kidding, it's the complete opposite (laughs).

── A second album is a big hurdle for any musician, especially in your case, since your first album was so well-received and you've been getting attention from all over the world.

All three: (wry laugh)

──Did you feel any pressure while making this?

J: Pressure? (bitter laugh)

NI: What? (laughs)

N: Pressure, you say (laughs).

J: Haha, rather than from outside, I felt pressure coming from within myself... maybe. It was more like internal pressure (laughs). I was a little worried about whether we could make something good, but then, when we released our first album, a lot of people ended up saying 'it's good'... so I'm really happy... hmm... I don't know? Well, the album hasn't come out yet, so it's hard to really grasp it. It's hard to put it into words... I mean, it's kind of silly to say 'it's great!' before it's even out. But I think it turned out well, and I'm happy. I'm sure everyone in the band feels the same way. That's the most important thing. And I'd be happy if other people felt the same way."

When did you start writing songs?

J: Hmm... I guess I was about 15 years old.

──Huh?

NI: No, aren't you talking about the second album?

──Yes, from the second album (laughs).

N: Then the answer would be '10 years ago' (laughs).

J: That’s right (laughs). Umm… right after we finished making our first album (laughs). “Meet Me In The Bathroom” was the first one…

──What was the songwriting process like? Fab (drums) and Albert said that Julian would bring in songs and the band would work on them, but are you someone who can write songs pretty easily? Or do you spend a lot of time on each song?

J: Well, depending on the song, there are some that are completed quickly, and some that are only half-finished when I bring them to the band. Sometimes, when I bring a song to the band without making much progress, it is completed surprisingly quickly. That's when a good idea comes out of nowhere. But on the other hand, sometimes it doesn't come together and it becomes a mess. I try out different things over and over again, tinker with different parts, and then when I tinker with them, this and that don't go together, stuff like that. Those kind of songs get the nickname "nightmare". They really are a "nightmare" because they never end (laughs). There are songs that aren't finished even after three months. Some songs can be completed in two days. They can be finished the day after I bring them to the band.

Radiohead always goes through extreme changes and it's not what I want. I think evolution is something that happens very slowly and gently. I don't think it matters how much time it takes.

N: We're not the kind of band that can finish a song in five minutes, but we're also not the kind of band that can spend forever on a song. I'm sure there are people who think it's good to create songs quickly, but being prolific isn't necessarily a good thing. Because when you're prolific, there are bound to be some bad songs mixed in

J: But "Supernova" (retitled "12:51") was written in one night and two seconds. The next day, we went back to the studio and played it a little and it sounded good.

N: Yes. Julian wrote it in 2 seconds, played it for us, and played it the next day and it was perfect. There was no need to edit it any more.

J: Yeah. I tweaked it a little and it was enough. For some songs, I even tried out different harmony parts after about three months.

So, what are the lyrics of your new song about?

J: The theme is different for each song... How can I put it, I think adding additional explanations might make it harder to understand... Well, maybe in another 55 years I'll be able to explain what I was feeling when I wrote it, and it might be interesting to talk about that... but for now I'd like to leave it up to the listeners to decide. That's all I can say... I'm getting sleepy... Just kidding (smile)

──Please hang in there (laughs). Are you the type who puts a message into your lyrics? Or are you the type who just writes down whatever comes to mind?

J: Well, it depends on the song. I guess that's how it is, isn't it? Of course there are things I want to say, and there are songs that convey those things.

──As Nick said earlier, the new album reflects the band's growth in many ways, but in what area do you think you've grown the most compared to the first album?

J: Mentally, I’ve regressed to childhood (laughs).

N&NI: Haha (laughs)

J: Hmmm... I don’t know... I think we'll be able to answer that in about five years (laughs). We may have gained something from the first album and grown, and were able to reflect that in the second album, but for us who are in the middle of that, we don't really know what that is.

──I understand. Julian answered in an interview with this magazine that he wanted to "create something that evolved." What do you think of as "musical evolution"? Something drastic like Radiohead? Or do you mean strengthening the unity of the band?

J: For me it's not that kind of extreme change... I think evolution is something that progresses very slowly and gently. If it leads to a change for the better, I don't think it matters how much time it takes. As long as it gets better. And I think it should happen naturally, not intentionally. I know it sounds a bit fishy to say it like that (laughs), but that's what I think. ...How should I put it... I think Radiohead always undergoes very extreme changes, but it's not that I want it to, it's not that it's bad... I guess if you keep doing a lot of different things... you end up here before you know it... but I don't really know what I'm saying. Someone stop me (laughs).

── (laughs) Radiohead are staying here too, have you met them?

J: Oh, are they here too?

N: They're staying in my room (laughs).

──Ah, right (laughs). Everyone?

N: Yes, all five of us (laughs). There are six of us including me. All six of us are together.

──How many beds are there? (laughs)

N: Just one. But well, we’re managing.

──Do you decide who gets to stay in bed by playing rock-paper-scissors? (laughs)

N: No, we discussed it (laughs). I even put the drum sticks in the bathtub (laughs).

J&NI: Hahaha...

──Well, that's beside the point (laughs), but people have been saying rock is dead countless times now, for decades now.

J: That's been said since the 50s (laughs).

Other people are the ones who say "Rock is dead.” I guess that's what you say when you see music that you can't imitate. When guitar, keyboard, bass and drums come together, I think it's something that will continue to expand.

──(laughs) But even though we're in 2003, the band sound hasn't died yet. How much potential do you guys have for a "band"? Are you confident that you can still produce as many interesting and exciting sounds as you want with just guitar, bass, drums, and vocals?

J: I think there are always people who come up with new ways of doing things. I think people who say 'Rock is dead' say that when they see music that brings great ideas to fruition, music that no one else can imitate. I don't particularly want to imitate them, but even if I played like Led Zeppelin and someone said 'They're already dead, it's just a copy'... I think there are a lot of things that can be done with the instruments in it, like guitars, keyboards, bass, drums, and I think a lot of things are happening. I think that when those instruments come together, something can spread. However, there are probably some people who don't think that what's being developed there is new, or don't notice it. That's all I can say.

──I'd like to ask, what are your ambitions as a band?

J: ... (long silence). Ahh... to stay together with all these members forever.

──……Is that all?

J: Yeah (laughs). Because it's a very important thing.

──So, let me ask it another way. Do you want your second album to sell better than your first?

J: I want it to sell like hotcakes (laughs)... Just kidding (laughs). I don’t know.

N: Tell that to him (pointing at the person in charge at the Japanese record company). That's his job (laughs). But you know, all we want is for people to like it. We make something that we can confidently say is a good work, and send it out into the world. That's enough meaning. With that alone, there's no need to think about anything else. That goes for the creative process and everything else.

J: Even if I try to make everything go my way, it's not something I can control myself. It's not something that has a direct connection to the music itself.

──Is there any particular band that the Strokes are aiming to be like?

J: Yes.

──Who?

J: Maybe Mel Gibson (laughs).

──Really?

N: It's not like it's anyone in particular or anything.

J: There are a lot of musical idols out there.

N: If I had to say, it would be all the music that we've been listening to since we were kids and that has influenced us. Listening to that kind of cool music makes us want to play cool music too. So it's not like we want to be Iggy Pop or Keith Richards or anything like that.

J: What about Nikolai Fraiture (the bassist Nikolai, of course)? (laughs)

N: You want to be like Nikolai Fraiture? (laughs)

J: It might be a little funny (laughs).

N : Yes, we look up to each other.

NI: I wonder if this wraps things up nicely (laughs)

── (laughs). But the Strokes themselves have become a model for subsequent bands, haven't they? I think you guys created a trend, to the point that people say "after the Strokes."

J: Oh, really? (laughs). Then I have to live a long life (laughs). That's... weird, isn't it? Of course, we have a message and there are people who have received it. But... how can I put it (laughs), there is a much longer road ahead of us (laughs).

──Since you guys came out, many bands that play primitive rock and roll have appeared. Do you feel that you are a turning point band in rock history, that you opened the door to a new music scene?

J: Hmm... I don't know... But I don't think that there are a lot of bands that wouldn't have been successful without us. There's no way to confirm whether that's true or not. I'm sure those bands would have been successful without us.

N: But don't you ever think you'd like to say something like that? (laughs)

J: Okay, I was just kidding (laughs). How’s that? (laughs)

NI: I mean...

J: I don’t know. Of course, it's easy to say, 'Listen to the music we make! It's great!' but that's not what I'm thinking about. I want to reach a certain level. And I don't think we've reached that level yet. We have our own ideas about what we're doing. If we end up being successful, that's great too. But becoming super popular or getting into the top 10 charts, that kind of world is like an alien world to me. So... I don't think we've made any big changes at this stage. We've only just started. At least, that's what I think.

Before being band members, they are all friends who can be trusted. I think that atmosphere is conveyed from the above conversation. Julian himself said that he has an ambition to "continue with these members forever," and there is not a single cloud in that. I was impressed by Julian, who seemed reluctant, but spoke passionately about his enthusiasm in his own way. They are a group of musicians with their feet on the ground more than I had expected.

From here on, we will continue with the pairing of Albert (G) and Fab (Dr), who continue from last month. We decided to ask them a variety of topics, including the relationship between the Strokes and the band, as they actively play the role of "diplomats" within the band.

──First of all, what was the vision that the members shared when approaching this new work?

Albert Hammond Jr. (G: A): I want to make each song better, and I want to complete it in the best way possible for that song, and I want each song to have its own personality.

Fabrizio Moretti (Drums: F): After the recording, I spoke with Julian, and it seemed like he had a very specific vision for each song. With the first album, I didn't realize it at all as we were arranging and recording, but he had an unspoken vision. Once the recording progressed to a certain stage, that vision became clearer. It was about what kind of songs they should turn out to be.

Ichiro once said, "If I were a chef, I would have to take good care of my knives, otherwise they would rust. Then I wouldn't be able to cook." I practice at home every day, holding my sticks. That's the way to become a good musician.

──So, all the songs are about three minutes long. Were you determined to stick to this length?

F: There was a part I was trying to develop in each song, and it was complete when it was enough. So I wasn't worried about the time at all. It wasn't like, 'Oh, if I extend it any more it will exceed three minutes! Let's end it here' (laughs). So I guess I just brought out the part that the song needed. If I just added 'more, more!' I think it would become boring.

A: Yes, that's true. I think that in order to develop a song, you should look at the internal aspects of the song itself rather than the external aspects and develop it accordingly. You shouldn't force the song. If the song needed 9 minutes, I think I would have made it 9 minutes long. I wouldn't have shortened it to 3 minutes. And none of the songs feel short to me.

F: Yes, I don't think they're short either. There's always an interesting part or aspect to each song. It's not like, 'Oh, so that's how it goes around here. That's right, the one and a half minute part has to be like this' (laughs).

A: There are some players who always try to create cool parts.

F: That tends to be overplayed.

A: Since the birth of rock 'n' roll, songs have remained that length, right? Well, that's because they were originally made to be played on the radio, but I think that many of the songs that I would call the best songs are about that length. Of course, there are plenty of great long songs as well.

──It's pretty difficult to complete a song in 3 minutes. In your case, it's even more difficult because it's a superb pop song. Did you have any difficulties in making it so compact?

A: But that's what we're aiming for, that's our goal. I enjoy that kind of music too. If you're well versed in music, you'll understand, but even in songs that seem simple at first glance, you can discover interesting rhythms, right? It's the same with guitar. It's not just a simple phrase, you know (laughs).

──That's true. What is the Strokes' songwriting process like?

A: Julian will write it first.

F: Yes. We would work together in the studio to polish whatever he brought in. We would try out different things together and think about the arrangement.

A: There are five of us, so it takes time. There are many times when we say, 'Let's try this,' but it turns out to be a complete failure.

F: Arranging is about how to complete the song, how to present it, right? Julian writes the heart of the song, and we go from there.

A: But the one absolute requirement is that it's something that everyone likes. Otherwise it won't work as a song.

F: And before I even think about whether I like it or not, the base idea is Julian's original. I think that's great. And then we get to breathe life into it in the studio.

──What do you think you gained from the long tour for your first album? What you gained there must have led to improvements in your songwriting and performance skills.

A: From the beginning, we were successful right away. Then, we were faced with “things we have to do.” If we had to do it, then we had to do it. But for the new album, an 8-month tour would be enough. I don't want to do long tours anymore (laughs).

F: But when you play a song over and over and over again, you discover something new, or you see new possibilities for the song. I think we've all grown as musicians. I was talking to Albert about it, and we were rehearsing for Summer Sonic a while ago. At that time, things that used to be challenging for us didn't feel difficult at all. I think that's because we've gained experience.

A: And there are more difficult songs on the new album too (laughs).

F: Yeah (laughs). I feel like the vibe has been strengthened. By the way... I once saw an interview with a Japanese baseball player in Seattle. Who was it?

──Ichiro.

F: Yes, Ichiro. He said something really cool... The interviewer said to him, "You polish your glove every day like a sword, and treat your bat as something sacred." And he said, "If I were a chef, if I didn't take good care of my knives, they would rust. Then I wouldn't be able to cook." It's the same thing. After making this album, I think I've realized that I love my instrument. Especially when I get home every day, I hold the sticks and practice by myself. I think I understand the relationship between me and my instrument, and I think that's the way to become a good musician. I practice with a metronome, and I know what it means to play tight, and it's not a rough feeling like, "OK, let's give it a go." (laughs) I think it's more spiritual, and I think it's important to make music for yourself.

A: I think it's the same as learning a language. You study it, and then when you go out and try to use it, you'll be able to speak it properly. It's the same thing. When you go on stage, you'll be able to do it naturally without having to think about it.

F: Yes.

A: Well, of course (laughs).

F: I don't think you’ll end up thinking, 'Hey, how do I play the C chord?' (laughs)

── (laughs) By the way, Albert and Fab, you guys appeared on an MTV show hosted by Courtney Love, right? Was that because you were drunk?

F: (already laughing while listening to the question)

A: Well, it was 4:30 in the morning, and I was having drinks with Ryan (Adams) at a bar. Then Ryan said, 'Let's go to MTV, Courtney Love will be there,' and I was like, 'Sure thing.' But when we got there, it was like, 'Oh no...' (laughs). But Ryan was there, so it was pretty funny.

F: I feel this especially when Albert, me and the other members are together, but we have the illusion that 'we are the strongest!' (laughs). No, seriously. It's like no one can beat us, and being together with everyone makes us even stronger. For example, let's say you're walking down the street and you bump into someone. Normally you'd just say 'excuse me' and pass by, but when we're walking together as a group (laughs), you're like 'hey, watch it!' (laughs). When there's friendship there, it can make your life seem bigger than it actually is. That's what happens when you go to places like that. It's not that we're violent or anything, it's just that we're full of confidence.

A: It's interesting, isn't it? It's the same with music.

──Are you close with Courtney on a regular basis?

F: Courtney seems to like our music. She's a nice person.

──You've been going to some Kings of Leon shows recently. Do you like them?

A: They're a great band. Their live shows are great too.

F They're a band that won't disappoint. They're young, too. Two years ago we were really young, but when I look at them now I feel like we're like second-years. It's the same when I look at other bands, but I think, 'Oh, they're freshmen? That's nice.' I hope we can tour together.

──Apart from Kings of Leon, what other bands do you think are great these days?

A: I don't really know these days. I've been recording for a while, so I haven't been listening to anything at all. It's only when I have time off that I find bands that I like to listen to.

F: Once we start recording, we get so focused that we don't go out. And as soon as we step out of the studio, we're like, (covering our ears) 'Please, don't make me listen to your music!!' (laughs)

A: I discovered Kings of Leon when I had about a week off. I was in between studio work and had nothing to do for a week or two.

F: And since Kings of Leon is on the same label, they'll hand me stuff like, 'Listen to this' (pretending to hand it over secretly).

A: Adam Green's new album is also really good. His live performances are amazing, the best.

──You're also actively interacting with Ben Kweller in New York.

When we're together, we have the illusion that we're the strongest! (laughs) No one can beat me! When you have friendships, you make your life seem bigger than it actually is, but it's just that you're full of self-confidence (laughs).

F: Ben Kweller is great too!

A: This may seem surprising, but while it's true that we have made a lot of friends, we're all on tour, so we don't get a chance to see each other very often.

F: But on the other hand, being in a band means we get to meet the people we want to meet, so we're lucky.

A: Because it gives us something in common.

──Have any musical projects ever emerged from these frank connections?

F: That's not possible.

A: It's still a little early for that. It'll be a different story if we release about seven albums and become big. Right now we're still young and we need to focus on doing things ourselves first. Only then will we be able to do that.

──I heard that celebrities flocked to see the Strokes at last year's Coachella Festival. How do you feel about being perceived as a "cool band" like that?

F: We're actually pretty weak.

A: It has nothing to do with me. Don't get me involved (laughs).

F: I didn’t expect it (laughs).

A: If people want to see us and enjoy us, that's fine, but there's no need to give them any extra justification for it being cool or anything.

F: And celebrities just say "hi" in a sarcastic manner and that's it (laughs)

A: It feels like a different world. Everything is different. The lifestyle, everything.

F: I don't think they actually know much about us.

A: I guess it was just a coincidence that we just happened to pass each other. We took a photo together, smiled, and that was it.

F: Besides, it's so much more fun and satisfying to meet the enthusiastic fans who come to our shows than it is to meet celebrities. I'm so happy when I meet kids and they tell me, 'I love The Strokes' music, it really inspires me, it really touches my heart.' Compared to that, the reaction of celebrities is...

A: It was like, 'I've been in the industry longer than you!' (laughs)

F: That's right. (with a cocky pose) They said, 'I like your music' (laughs). Really, I was like, 'Oh, great, great, thank you for coming.'

A: Also, when we talk to kids, I think we can see clearly through them what we want to do and what we don't want to do. That's really exciting, and it makes me feel like I've become a bit of an older brother (laughs). That's why we have more fun when lots of kids come to our shows.

F: Better than a show filled with celebrities.

A: In the first place, isn’t that kind of weird?

F: Celebrities don't take the initiative. They're like, 'I'm famous, so everything just comes to me without me having to do anything' (laughs).

A: It’s like, 'Oh, so the concert was good? I see, I see, that’s good' (laughs).

F: So in other words, you want to say it’s ‘cool’ (laughs).

A: That's right! (laughs)

────

"The Strokes meet up with SUM 41 in Osaka"

Text: Masataka Oguchi

The real story! Behind the scenes of their visit to Japan

The Strokes' visit to Japan lasted for a week. At their request, they stayed at the Hotel Okura, which has a Japanese feel (many foreign musicians choose this hotel). Julian was a big fan of the opening video of "The Tale of the Heike" broadcast on BS2, and apparently even recorded it on video. Maybe it will be used in a future clip?

The title he came up with in that hotel was the first single, "12:51". This was reported as "Supernova" in last month's issue, but the moment he got involved, he was apparently overjoyed, saying, "Oh, if you fold this with a ":" in the center, it overlaps!" Only Julian knows the true meaning of that...

After meeting them, my impression is that the drummer Fab is the friendliest. He has a friendly personality that is typical of Italians, and he doesn't forget to casually hand over an ashtray. Julian seemed very sleepy during the interview, and half-seriously said, "I'm getting sleepy..." while speaking. Nick may have been the most cynical. The way he rolls his eyes is the cutest in the band.

At Summer Sonic Osaka, an unusual meeting between The Strokes, Stereophonics, Sum 41, and Good Charlotte took place at a hotel bar. Apparently, Julian invited the members of The Phonics and Sum 41 to come over and have a drink. Then Sum's friend Good Charlotte joined them. However, things didn't quite go well, and Fab and Julian ended up arguing.

After Summer Sonic, they went to Kamakura, which they had planned to do for a long time. Everyone was supposed to head out together, but in the end, only Nikolai (and his family) went. During the interview, Fab was excited and said, "I want to see Buddha!" Anyway, it must have been a nice break from recording here in Japan.

[mcforwhatiam]

Beastie Boys in July 1998 issue of Crossbeat magazine

(Unsure of photographer, scans from Pop Catastrophe on Instagram)

[piovascosimo]

crossbeat july 1998 | beastie boys

[likemonalisa]

Fiona Apple, Crossbeat Magazine, 1999

[radioheadarchive]

Thom for Crossbeat #83, March 1995