The Strokes

Album Review: Interpol’s Marauder

When compared to the avalanche of indie rock bands that sprung from the New York concrete in the early 2000s, Interpol are something of an exception. With the principle founders meeting in a history class on the First World War at NYU, ‘rock n’ roll’ is hardly a phrase that springs to mind. However, unlike their New York brethren from that era of rock and revitalisation, Interpol are still active and cranking out records over 15 years after the release of their 2002 seminal debut Turn on the Bright Lights; an instant classic album cloaked in a brooding, post 9/11 atmosphere.

And now, four years after their miraculous reboot, Interpol serve up a second helping of gloomy lyrics and jaunty riffs in Marauder.

Marauder begins boldly, with the crashing chords and stomping drums of ‘If You Really Love Nothing’. This marks a real departure from Interpol’s usual style right down to its accompanying music video, which unexpectedly stars Kristen Stewart. The touch of new producer Dave Fridmann, who insisted on recording the album straight onto magnetic tape, can be heard almost immediately. Seamlessly swimming in its wake comes the slick and energetic lead single ‘The Rover’. This opens with one of guitarist Daniel Kessler’s trademarked serrated riffs, before leaping into a Blitzkrieg of guitars, rumbling bass and Sam Fogarino’s pulsating drums.

Ensuing songs ‘Complications’, ‘Stay in Touch’ and ‘Flight of Fancy’ tread along familiar territory for Interpol, of roaring guitars, emotionally distant lyrics and Fogarino’s innovative drum beats. Interpol also furnish Marauder with a pair of swirling, murky keyboard interludes, dividing the album from the relatively up-beat first half and the increasingly desperate and self-conscious latter.

Towards the album’s conclusion, ‘Party’s Over’ shines as a standout track, seeing the band finally adjust to the loss of their integral bassist, Carlos D. Paul Banks once again shoulders the bass duties, however, unlike the previous album, 2014’s El Pintor, it doesn’t feel like he’s just filling in a hole in the band. The bass and drums interplay in ways unseen since the days of Antics in 2004, and Banks stretches his vocal range in ways that hark back to the best tracks off their 2010 self-titled album.

Banks stretches his vocal range in ways that hark back to the best tracks off their 2010 self-titled album

Thematically, Paul Banks’ lyrics bounce between a dazzling array of stories, from cult leaders in ‘The Rover’, to workplace romances in ‘Number 10’, all whilst veiling them all with Banks’ traditionally cryptic lyrics. Lyrics like ‘NYSMAW’’s “They will design a little box for you to play in/ Aimless sharks don’t react to soft attentions” will surely stump ‘Genius’ contributors for aeons. Unfortunately Fridmann’s production choices often make being able to hear Banks’ lyrics at all a similar exercise in futility.

Marauder’s tenth song, creatively titled ‘Number 10’, is another gleaming jewel in Interpol’s tiara. This song was originally intended to be a B-side, but the band loved its energy, recorded it live and shuffled it into the album’s final cut. It erupts with a gloriously meaty riff that recalls the heavy guitarwork of 2007’s Our Love To Admire and the outro of ‘Not Even Jail’ from Antics, bringing fond memories of the band’s former glory, but also something far less satisfying. A kind of hollow familiarity that runs through the album like a stick of Brighton rock.

The root of this feeling lies in how since El Pintor Interpol have seemingly attempted to recycle the same themes and riffs from their first two albums into their music, appealing to nostalgia but little else. There are no more ‘PDA’s, only pale soundalikes like ‘NYSMAW’. Even less traditional Interpol songs like ‘Mountain Child’ sound more like discarded tracks from Paul Banks’ first solo album as Julian Pelenti.

There are no more ‘PDA’s only pale soundalikes like ‘NYSMAW’

Having said this, one must be rational. In an interview before the loss of Carlos D, Banks claimed that if the band lost a member, it wouldn’t be ‘Interpol’ anymore. As Sam Fogarino said in 2014, El Pintor was a reinvention; more a second debut album than Interpol’s fifth. In this sense, the Interpol of post-2014 shouldn’t be compared to the peak Interpol of the early 2000s, in much the same way the Byzantine Empire shouldn’t be compared to Ancient Rome at its peak. Sure, there are similarities and repetitions, but that’s hardly a surprise for a band that’s been playing music since 1997. The two phases should be appreciated separately.

the Interpol of post-2014 shouldn’t be compared to the peak Interpol of the early 2000s

Once the glaring comparisons have been exhausted, all that can be said is that Interpol have released an unsurprising but nonetheless thrilling album. They may still be rocking out in Dolce & Gabbana suits 15 years on, but they are still the undisputed masters of slick, shadowy metropolitan rock.

Live Review: Darwin Deez @ Thekla Bristol + Interview w/ Darwin Merwan Smith

On Wednesday 3^rd of October, Darwin Deez took the stage at Bristol’s Thekla to perform their new album that came out late August entitled 10 Songs That Happened When You Left Me With My Stupid Heart. This being their fourth album it was interesting to see the journey they had made from their first album. Darwin later admitted to me, after asking him about this journey, that there was no progress since the first album, only change. This “change” is evident in Darwin’s increasing use of a synthesizer and the fact that he has cut off all of his infamous curly hair…

In terms of the live performance, I don’t think I’ve ever been to a gig where the artist sounds exactly the same as they do recorded. From the opening song, The City, to his last, The World’s Best Kisser, and then a double encore (calm down Darwin!), the vocals were impeccable and the energy from the band was contagious. I very much enjoyed the random dances that the band would suddenly whip out in between songs, which, in fact, seemed not very well rehearsed and appeared to come out of nowhere. In terms of the audience, the turnout was pretty big and fans closest to the stage were singing along to all of the lyrics. In particular, Darwin called out to a young girl who was singing along with her eyes closed and said to her “I’ve been trying to make eye contact with you for this entire song – are you an introvert?” I think it’s nice how he interacted with his fans, and especially with Thekla being such an intimate venue it made it easier for him to do this.

I loved existentialism though, Nietzsche. Every 18-year-old boy loves Nietzsche.

I was very lucky in being able to interview the rather eccentric Darwin in the upstairs bar in Thekla, and in between him taking swigs of my own gin and tonic, he answered my following questions…

How are you finding the UK?

It’s not cold. I thought it was funny when I saw a solar panel off of the motorway. I mean a solar panel in the UK? Not really. Because it’s a bit cloudy isn’t it?

How is the tour going? What other venues have you performed at?

Tour is going good but Caitlyn isn’t going to do the US part. The shows have been good though. Brighton last night – really good but low ceilings though – I banged my head a few times. I’m pretty tall. I don’t know how tall I am in your language. Actually, I’m 6”3. Is this an interrogation?

So, the first song I heard of yours was ‘Constellations’ which I believe was around four years ago. I was wondering what your progress has been since then?

There’s no such thing as progress. Change but progress, no. Progress is a story about change. All there is is change.

So, what’s changed?

Everything and nothing. Things changed. I’ve started using more synthesizers. I’ve wrote some songs on the keyboard. Tim wasn’t the drummer when we first started. That changed. (At this point Darwin starts flirting) That’s a nice ring. But your whole outfit is jammin’. You’re just at the top of your game fashion-wise. For me personally, I’m not on the top of my game. I’ve done this stuff before and I’ve gotten better results.

So, when were you ever at the top of your game?

First Record.

Do you write all of your own songs and where do you get the inspiration from?

Yes, I steal from other songs. Millionaire by Kaliz, ideas about syncopation from Deerhoof, chords from Regina Spektor. Steal, steal, steal, steal. Although cover your tracks, no one will know (until they read this article, Darwin).

Who would you compare yourself to as a band?

The Strokes. But not as huge or as consistently good.

I’ve heard you being compared to Fleetwood Mac – what do you have to say about that?

I mean there’s not two of me and I’m not in a love/hate relationship with myself. Only love. It’s the way we are all are. Hate is an illusion. Only love is real. Everything is love. Hate is love.

Who is one person alive or dead you’d like to have tea with?

Hendrix. Oh, what a good hang that would be if he wasn’t too stoned. It would be amazing to have his attention because he’s an introvert. Introverts are the most attentive to others. Did you see him on the Dick Cavett show? He was so quiet, on stage he’s so loud visually and audibly but then you sit him down and he’s a quiet potato. (Starts sing “a potato flew around my room” to the tune of ‘Thinkin Bout You’ by Frank Ocean).

Are you going to release another album in the future?

Yeah, I think so. Life is so long. Most definitely. Could be wrong though.

What’s your favourite song out of all the ones you’ve released?

‘You’ (laughter). ‘Chelsea’s Hotel’ that’s a good one. I like ‘Flirting’ (more laughter). ‘Constellations’ I love, I ripped that one off of Coldplay’s song ‘Clocks’ – the same chords, the first two. From the new album? I think ‘Getaway’ or ‘The World’s Best Kisser’ – I love her – she really is the best kisser. The shittiest kisser I ever kissed was probably the person before her and the person after her too.

What did you mean in ‘The World’s Best Kisser’ when you said you wanted to change a girl into a leaf?

I was thinking about her. She taught me how to love someone. She said, “don’t try to change me”. We all try to change our partner. Can I just change 3% of you and then I’ll be happy? Then she was like no, don’t change me at all.

Did you go to university?

Two years, philosophy but then dropped out. I didn’t want to become a professor. I started to become practically minded. I loved existentialism though, Nietzsche. Every 18-year-old boy loves Nietzsche.

When you’re not doing gigs what do you like to do?

I walk. That’s what I learnt from Nietzsche, never trust a thought that comes to you while you’re sitting down. He wrote all of his books while walking apparently. When I walk I can think through my thoughts and my head feels clearer. Lots of people in America go to the gym or do yoga. I find that exercising the mind is better.

What advice would you give to an aspiring artist?

Go open mic night every week for a year. That’s what I did. And now I’m here.

Thank you very much, Darwin.

Thank you.

Overall, Darwin was definitely a pleasure to watch live and I’m glad I got to meet such an unusual and eccentric artist. Judging by the usual gap between each album it might be a while until we get to hear his next one, but I’m excited to see his further progress – sorry I mean change. Anyway, after sitting down whilst writing this review, and in regard to both Darwin and Nietzsche, I think it’s time for a walk.

Album Review: Albert Hammond Jr. – Francis Trouble

Francis Trouble is the fourth solo album from The Strokes guitarist Albert Hammond Jr., who was the first of the band to pursue a separate career alongside The Strokes with the release of Yours to Keep back in 2006. Since then he has followed up with ¿Cómo Te Llama? and Momentary Masters, and Francis Trouble is a fantastic continuation, truly showing his personality as an artist. It’s also a very personal work for Hammond, as it was inspired by the miscarriage of his twin brother Francis and the haunting effect this event has had on his life. Don’t expect anything too morbid though – Hammond has insisted that the album not be taken too seriously, and Francis Trouble proves to be energetic, confident and vibrant.

First track ‘Dvsl’ opens with birdsong swiftly followed by punchy guitar riffs. The lyrics play on a fun, experimental answer and response style, which introduces the theme of duality that recurs throughout the album. It’s picked up again on third track ‘Muted Beatings’, where the increasing tempo evokes a rapid heartbeat and matches the fragmented uncertainty of the lyrics, “Where will we go?”, “I don’t care”. Another of the singles released from the album, ‘Far Away Truths’ also has a fabulously catchy hook, simultaneously joyful and serious, foregrounding Hammond’s vocal talents and perfectly mirrored by a pacy, playful backing riff.

Listening to the first few tracks, it’s easy to pick out strong similarities to The Strokes’ albums, although this is perhaps inevitable (and by no means a bad thing). Yet while Francis Trouble incorporates these influences, it still very much bears Hammond’s individual imprint, and his solo career is at the stage now where he definitely can and should be considered a front man and songwriter in his own right. He doesn’t move too far away from The Strokes’ sound, but then again he doesn’t need to, because it’s a style that he perfects and has managed to put his own unique twist on in all of his solo efforts to date.

The album is similar in style to Hammond’s previous work

The central section of the album is steadier, more serious and more sentimental, as Hammond sings nostalgically of a high school dance on ‘Set to Attack’, his murmuring vocals slightly calling Casablancas to mind. This track also features a particularly exceptional guitar solo – there are many on the album but this one deserves a shout-out, as does the gorgeous saxophone which closes ‘Tea For Two’. Indeed, the guitars are really the stars of the show throughout – closing track ‘Harder, Harder, Harder’ really shows off Hammond’s skill with powerful riffs layered over each other. ‘Screamer’ turns the energy levels briefly back up again for a forceful two and a half minutes, before ‘Rocky’s Late Night’ dives back into contemplation, as Hammond reflects that, “I’m not the same as I was before”. He definitely seems to meditate on the past a lot throughout Francis Trouble, whether on his childhood or on former romantic relationships, and this is occasionally with a sense of regret or nostalgia, but more commonly simply a tone of reflection, in keeping with his explanations of the influences of his past on the making of the album.

Not all of the tracks are as strong as others, and ‘Strangers’ in particular falls a little flat, while the aggressive vibe of ‘Screamer’ doesn’t seem to mesh well with the songs around it. The album is similar in style to Hammond’s previous work, and doesn’t offer anything especially ground-breaking, but it’s a solid indie rock album nonetheless. Above all, it’s nice to see Hammond firmly established now as a solo artist in his own right, something that his talent certainly merits.

Goulash, Throat Singers & Canadian Contemporaries: An Interview with Weaves’ Jasmyn Burke

The latest gem in the treasure chest of Canadian indie bands, Weaves, have just released their highly anticipated second album Wide Open, just a year after their eponymous debut was described by MTV as ‘one of the most unpredictable sounds of 2016’. I spoke to frontwoman Jasmyn Burke before the group’s UK tour begins to chat about the group’s influences, creation and what’s in store next after their autumn tour dates.

How has the past year since your debut been? Have there been any moments in particular which really cemented how popular you’ve become?

Hmmm not really sure. I’d say we’ve been pretty lucky to be busy and touring basically none stop and maybe that’s what has been the most exciting. We are currently in the Czech Republic and had Goulash for dinner last night! That was pretty great! Getting to eat and drink in places around the world.

‘#53’ is on an Apple Music playlist called Indie Anthems among classic songs from The Strokes, Tame Impala, Arctic Monkeys and more – what was your reaction to that?

Wow, that’s pretty cool. Didn’t know that – love all of those bands so anything alongside them is amazing.

I’ve read that you said ‘#53’ stems from ‘existing on the road, and existing at home’, how did you transform these feelings into such an energetic song?

I think when you come home there is a bit of a depletion of the body and mind. You’re exhausted from travelling, but at the same time your brain was kind of on overload, so I think when we came home I was somewhere between delirium from being on the road and eagerness to write again. So somewhere in that muddle I started reflecting and just spewed out how I was feeling and how it had all affected me in a way.

Music is kind of like the ocean, You need all different kind of organisms in there to make it work

‘Scream’ features Inuk throat singer Tanya Tagaq, how did this come into being?

Tanya! The best. We met her while on a flight to Iceland Airwaves (also the best festival). And we just sort of gravitated towards each other. That was about two years ago and we had wanted to figure out a way to collaborate so when this song happened it felt like she needed to be on it. She also performed her parts in two takes it was really special to watch. She is playful and spontaneous in a way, so she looped in her first take and created this rhymic wall that just took over the speakers while we were listening in the studio. She is a force.

Despite receiving high press praise, you’ve spoken of having no fear or pressure towards making your recent second album, what do you think contributed to this?

Umm, I think y’know in retrospect the fear kind of settled in after the album was made and almost put into the world, ha. I don’t like to overthink the writing process. It’s really about listening to sounds and then that sound instigating words and so I just try and let it happen — not hold back. But it’s still scary putting an album out. It’s your feelings all out there for people to consume and that can be kind of daunting. I just try and block that out so that it’s more of a healing process when I’m alone in a room writing.

I heard in your Stingray interview that you met in quite unusual circumstances – could you tell us a bit more about that?

American Idol style. Everyone auditioned in a house. And then we made Weaves! Secret’s out.

Who influences you, sonically? You’ve mentioned that you have different tastes, is this an advantage or disadvantage when it comes to creating the band’s sound?

Umm, the more variety the better! Music is kind of like the ocean. You need all different kind of organisms in there to make it work. And some are still unknown and that’s the most exciting. Never knowing the full spectrum of what’s to come or hearing something fresh or really old – it’s all welcome in our band.

Geek freak pop rocK

How would you categorise your music?

Geek freak pop rock.

2017 has seen some brilliant releases from many Canadian artists such as Arcade Fire’s Everything Now and Alvvays’ Antisocialites, who are your fellow Canadian contemporaries, or who do you admire?

I mean, those two for sure. Grew up listening to Arcade Fire. I even turning down a family vacation to Florida because I had tickets to see Arcade Fire, and I still don’t regret it! Ha, we also love Tegan and Sara, Grimes, Tanya Tagaq, Feist…lots of amazing women in Canada!

Your Europe/UK tour is underway, and I hope it’s going well! What’s next for Weaves after this tour?

Well, we will be touring a lot more in 2018 but truthfully…I kind of started thinking of themes for our third album. I really want to just go hide outside of the city and learn more about gear and just challenge our band to make better songs. Grow! Like a flower!

Weaves perform at Bristol’s Crofters Rights on the 20^th November, and tickets and the band’s second album Wide Open can be bought here

Album Review: Public Access TV – Never Enough

s rock music dead? It’s a debate widely contested by music aficionados across the globe. One thing’s for sure it’s certainly not as popular as it once was. Only 10 years ago there seemed to be life in the genre, with Arctic Monkeys’ debut album Whatever People Say I am, That’s What I’m Not becoming the fastest selling debut album of all time in Britain and bands like The White Stripes, Arcade Fire, Queens of the Stone Age and The Strokes all operating successfully on the other side of the pond. Granted some of these bands are still running well today, but there’s just not the same buzz of new guitar bands coming through. It only takes a brief scan over the current UK charts and you’ll see the same pop star’s names of and over again, with scarce mention of any actual guitar acts. The ‘rock mantra’ instead seems to be carried by indie pop acts such as Bastille, The 1975 and Imagine Dragons, a far cry from some of the most revered bands of the genre and hardly the direction many would’ve wanted.

Which brings me to Public Access TV. A band I’ve been following closely since the release of their debut single ‘Monaco’ back in January 2014 and their inclusion in the NME Radar column. Flying very much under the radar, this New York four-piece have managed to produce one of the most authentic rock n’ roll albums of the year. With early comparisons to indie rock legends The Strokes, Public Access TV have managed to catch a niche that sounds remarkably fresh, whilst also clearly tipping its hat to the hazy late 70s rock era.

Public Access TV have managed to catch a niche that sounds remarkably fresh

With the longest track clocking in at 3:48, Public Access TV specialise in short, sharp pop songs, with lead-singer John Eatherley’s impeccable ear for melody and knowledge of the genre standing out as one of the album’s greatest strengths. Never Enough kicks off with the sun-drenched ‘In Our Blood’, complete with a jangly guitar riff and soaring chorus, before the unabashedly rock n’ roll ‘Evil Disco’ plays out like the strutting zinger ZZ Top wished they’d written.

Further highlights come in the form of garage rock anthem ‘I Don’t Wanna Live in California’, which plays host to the kind of fuzzy guitar solo not heard since the early 80s, whilst the hook filled ‘Patti Peru’ and the raucous yet simplistic ‘In Love and Alone’ are also standout moments. With so many short, punchy bursts, the album tears through its 38-minute duration, only stopping for breath on the reflective yet catchy ‘Careful’.

‘Never Enough’ is an album for the skinny jeans generation

“They say the kids don’t like rock n’ roll any more”, Eatherley ironically croons at the beginning of their most recent single ‘End of an Era’, a groovy indie rock track that laments the current state of the genre. They may not be the most gifted nor subtle lyricists, but they sure know their way around the general mechanics of what makes perfect rock n roll and don’t pull any punches. Never Enough is an album for the skinny jeans generation. Catchy riffs? Yep. Big choruses? Check. Irrepressibly cool? Of course. “Cool” is something that Public Access TV ooze, making them very much the archetypal New York band, the type you’d feel would be hanging out with Lou Reed and Bruce Springsteen if they’d been around in the mid-70s. However instead they join the likes of Sunflower Bean in leading the newest wave of bands looking to prove there’s still life in the veins of the oh-so-prolific New York rock music scene.

Never Enough is never going to be a game-changing album, it’s not even particularly special. If you’re looking for interesting time signatures, politically charged lyrics or progressive instrumentation, then pick up Radiohead’s A Moon Shaped Pool. Will it be looked back at in 10 years time as a musical highlight of the 2010s? Who knows? Probably not, but that’s not the point. This is an album that wants to have fun, revel in nostalgic guitar lines (without being dependent on the past) and stick two fingers up to pretentious hipsters sitting in pop-up bars in Shoreditch confessing their love for neo-psychedelic dream-pop. Which brings me back to the question, “is rock music dead?” It may very well be, but Public Access TV don’t seem to care.

Album Review: The Strokes – Future Present Past EP

Future Present Past EP - The Strokes first EP since their debut The Modern Age in 2001 — Future, Present, Past artwork.

After announcing themselves onto the world stage in 2001 with their prosperous debut album Is This It, The Strokes have been on quite the musical journey. With a hard act to follow, the New York City quintet have never quite managed to hit the musical heights of their previous projects; often owing to attempts at switching their trademark sound onto further horizons as shown with the less successful First Impressions of Earth. However recently, the release of their new EP Future Past Present, in typical Strokes fashion, grabbed the world’s attention with a deal of surprise. With many questioning when the next album would arrive, the launch of an EP especially – their first since The Modern Age in 2001 – was out of the ordinary.

Although offering no more explanation as to whether a new album is on the way, the EP is surely a refreshing sight to lifelong fans who hate to be kept waiting. The songs found on the EP are reflective of the title; ‘Drag Queen’ representing the future, ‘OBLIVIUS’ the present and ‘Threat of Joy’ the past. These titles are not just reflective in terms of lyrics, but also sound.

The lyrics chronicle all the emotions that teenagers in the early 2000s relate to

‘Drag Queen’ is a strange listen, where Casablancas seemingly takes the perspective of different people, often in the form of a dialogue with different voices. Although the people involved are unclear, it seems reflective of the title, with a ‘Drag Queen’ taking up multiple personas as lyricised; the trippy music video also doesn’t help in explaining. The overall sound is slightly downbeat for a Strokes song, but the supposed ‘new’ sound is fascinating and complete with a disparate guitar solo. The vocals of Casablancas are prominent, even behind the signature voice effect, and complete the supposed glimpse into the future well.

Image - wikipedia — Strokes frontman, Julian Casablancas. Image – wikipedia

Far more upbeat, ‘OBLIVIUS’ is a self-narration of Casablancas’ return to the group from his solo-work, and the return to winning ways for the band. The lyrics chronicle previous subjects for which Casablancas drew upon, such as angst, alienation and all the emotions that teenagers in the early 2000s could relate to. This track is certainly what the loyal fans have been waiting for, a dabble into the trademark sound that drew so much praise in the early days of the band, with catchy guitar hooks and faultless guitar solos encapsulating the song with ease. The overriding theme of the present, most notably the bands current goings on, but also with social commentary which has been staple of The Strokes diet in recent releases. The remix by drummer Fabrizio Moretti found at the end of the EP offers a slightly eerie alternative to the song, but with the same appeal as the original.

The past, so often a dominant topic when discussing The Strokes, is captured by ‘Threat of Joy’ as the final song on the EP. The track begins with Casablancas speech similar to the start of ‘New York City Cops’, commentating on how domesticated the lives of the band have become since the early days of their music. As the band have grown up, they all have different lives compared to how they started; wives, girlfriends, houses and what not. The lyrics take the view of hindsight, telling of the problems the members have faced and how their lives are different now they have become all grown up. The distinct rhythm guitar of Albert Hammond Jr. is evident all over this song, a track that is a trip down memory lane and certainly an ode to previous music. ‘Threat of Joy’ is a personal highlight of the EP for me. As a nostalgic Strokes fan, who always seems to compare new releases to their old stuff, this track would not feel out of place on ‘Is This It’- high praise indeed.

Overall, the EP is an exciting listen, although slightly mixed. Some elements of the songs seem verging on repetitive but overall, the reflection and return to their old sound is certainly welcome and a refreshing listen. Even though we may not be getting an album soon, Future Present Past is definitely an enjoyable experience, and should keep The Strokes fan base happy and looking forward to what more the band have to offer.

“It’s just music, it’s not brain surgery”: An Interview with Albert Hammond Jr.

“Don’t mention The Strokes”, reads the headline of the Sydney Telegraph’s 2008 interview with Albert Hammond Jr. You must be joking, I think to myself as I pick up the phone and dial the number of a member of one of the biggest rock bands on the planet. It’s not often an opportunity to chat to a member of The Strokes arises, and I’d be damned if I was going to let one prickly interview stop me from asking the questions I wanted answered.

Nevertheless, when Hammond is patched through to me by his PA, I pragmatically decide to start the conversation by asking about the 35-year old’s solo career; a venture that has so far yielded three albums and brought him to Bristol to play The Fleece just last month. “Both shows (of the tour) have been amazing so far,” he tells me, “the reaction has been fantastic, especially to the new songs; I couldn’t wait to play them. We played our first show (in the UK) in Oxford and it was great to see the crowd waving for the new ones.”

The new songs to which Hammond refers, are of course tracks taken from his latest solo album, Momentary Masters, released earlier in the year. Unfortunately for Hammond, the new material hasn’t taken off in quite the same way as The Strokes, with his latest release failing to chart in the US or in the UK. Hence, Hammond now finds himself playing significantly smaller venues than in the past. I ask him what the transition has been like for him as an artist.

“I’m in The Strokes and I’ll always have been, and no matter what happens I’ll always be thankful of it”

“I think it’s just where I’m at (as an artist) right now,” he admits, “I’d really love to play large venues with my band right now. Just last night (playing at Gorilla in Manchester) it was like our dreams were across the street at the Ritz – a visual representation of where we want to go… but as a new band, you have to build a career, and even if your last venture was successful you cant just go into the next one doing the same venues… the people just aren’t there.”

One thing Hammond has always been keen to emphasize (hence the Sydney Telegraph interview) is that his solo material is something to be kept distinctly separate from his work with The Strokes. I ask him why this is the case, and how he deals with instances, such as when in September 2015 he was heckled by members of the audience to play Strokes songs at a solo show.

“I don’t really feel like I’ve ever had people heckle me!” he retorts, a little taken aback, “but this naturally feels separate to me. I’m in that band (The Strokes) and I’ll always have been in that band, and no matter what happens I’ll always be thankful of it for the rest of my life. But it’s hard, because we made such an impact at such a young age… so now it’s just a case of going and doing what I do, and letting time and records build something else, something new up.”

“I’ve thought about it for a long time, but it was just too hard emotionally to keep up with”

Despite this attempt to keep his solo project separate, Hammond’s solo material is unmistakably similar to The Stokes, something he isn’t shy of admitting: “I try to make bombastically melodic rock and roll,” he says, “I don’t really think about how different or the same it is from other things I like or in the vein of The Strokes. I feel very different from the band… when I fell in love with making music, it was more like what I’m doing now, and I feel like I’ve finally got to the right place where I feel like I can do it well.”

Regardless of this, Strokes fans will undoubtedly be keen to know whether they can expect to see the band playing together again in the UK. With this in mind, I brace myself for an onslaught and ask: we will see another Strokes tour anytime in the near future?

Hammond’s response is surprisingly honest: “I’ve thought about it for a long time,” he sighs, “but it was just too hard emotionally to keep up with, so I just kind of let go. I’m not the one pushing for it anymore. One half of me can picture it, the other half just cant… so I think it’s just silly to worry about it because if it happens I’ve worried for no reason and if it doesn’t happen the worry isn’t going to help make me feel any better.

“In the grand scheme of things we’re really lucky to do what we do. It’s just music, it’s not brain surgery, and sometimes I think that gets lost…”

“I’m going to focus and spend a couple of years to try and build this band and to build a repertoire with them,” he continues, “whether The Strokes do stuff or not at least I’m continuing doing what I love to do, and I feel I can add something really great to the scene.”

Intrigued by the ‘emotional strain’ Hammond refers to, I begin a question asking him exactly what he means by this, but he interrupts me: “It shouldn’t be like that!” he exclaims, “It shouldn’t be emotionally straining, it should be fun! In the grand scheme of things we’re really lucky to do what we do. It’s just music, it’s not brain surgery, and sometimes I think that gets lost…” he trails off, and I decide not to push further on what is clearly a sore and personal subject.

Hoping to lighten the mood, I turn the conversation towards Hammond’s close friend and band-mate Julian Casablancas. Famously cold and detached on stage, I ask Hammond, who has known Casablancas since he was 13, what he is like to work with, and how accurate the media’s perception of The Strokes frontman really is.

“we’re really more all funny goofballs than anything else”

“He’s never like he is on stage,” Hammond tells me, “I think the biggest misconception about us is that we’re all really moody, but we’re really more all funny goofballs than anything else. I guess in mediums like the media and on stage you can’t build a three dimensional person really… It gets projected out in little bits, and nobody is really how you read about them.”

“I think that sometimes when you’re nervous and you go on stage, or if there’s a kind of look you want to give off – I don’t ever really ask him (Casablancas) about that…. But no, he’s definitely not wearing sunglasses and cold when you’re talking to him. He’s a very normal, silly person that also has a wonderful sense of depth. But I don’t know if you’d get that across by talking to him though!”

It is this funny, sillier side of Casablancas that saw him release a cover of Saturday Night Live Christmas single ‘I Wish It Were Christmas Today’ back in 2009. To finish the interview, I ask Hammond what he thought of the track. “Yeah…. it was cool,” he mumbles, undoubtedly a little peeved to be answering yet more questions about The Strokes, and, having probably pushed my luck a little already, I decide it’s probably best to leave it at that.