It all started being like, “Life is fucking short.” I share a huge part of my life with Dan, and it’s important to me to make something with him, because it made me feel happy, and it made me feel reconnected to a part of me that I’d been kind of putting on hold for a few years. But his year, I’ve been through … My uncle passed away, I had a close family member have a serious, life-or-death medical thing. And if you look at, how is it that artists can have, like, a billion streams, but can’t sell out an arena in Sacramento? You know what I mean? Like, what the fuck’s happening?Īnd it’s all meaningless. And what’s changed since 2014 is, if I look at the charts, there’s so much streaming manipulation. To be completely straight with you, when Turn Blue came out, after all the work we put in, and all the luck that had happened to get us into the position to potentially have a number one record, I really wanted it. Like if I put on The Damned’s first record, it makes me feel good. I just find myself listening to more direct- sounding shit. But you know, as far as what’s considered alternative and things like that, things are changing, things are moving. And I just have faith that there’s some stuff brewing underneath that is really good, I know that to be the truth. None of the bands I liked were really getting played on the radio anyway. No I liked really got played on the radio from 1994 to 2001. We didn’t think about the context of the state of music in 2019, which is very complex and freaks me out. Our mentality was: “Let’s just make something that we like, and hope that people like it.” And that’s what we did. How much did you think of the context of a rock album in 2019 when you made it? But you know, when I work with a band, depending on how quick the band is, if I’m producing, I prefer to work the same way that Dan and I do. But I think we just have this thing like, “OK, what we’re making now is just gonna be the final song anyway, so what’s the point of going back and fucking with it?”Ĭertain records, we have done pre-production, like Attack and Release, and Brothers, to a certain degree, for like four or five songs on that record. We recorded our first two records ourselves anyway. But essentially the way that Dan and I write is how we record.
Pre-production is really good for certain bands. That’s basically how we’ve always done it, yeah.
You did the usual thing where you come into the studio with nothing written, right? And we just slowly chiseled up the record, here and there, through the rest of the fall. And after three weeks of it, we got halfway through the record, maybe a little bit further, and then we decided to take a break for a couple weeks, not to put pressure on ourselves. And we just fell right back into it really, day one. And I think initially, I wasn’t really apprehensive if we were gonna be able to get anything cool, I just was more apprehensive about how Dan wanted to work and how I wanted to work and how that was gonna jive. We’ve both been in the studio a bunch since then, but for whatever reason, I think we’d just taken some time apart from working with each other. So it was a five year break between working. And neither one of us had been in the studio with each other since 2013. So, for this record, I think there was no discussion about what we wanted to do. 'Silence of the Lambs': The Complete Buffalo Bill Story Even on Turn Blue, it was just like, “Oh yeah, this is just what’s coming out. There was no thought involved - the thought was just, “These are the songs we’re writing.” And I think we’ve always tried to be in that zone. I can kinda remember making Thickfreakness. It’s been six years since we made that record! I can’t even remember. And I think it started off as more of a mellow kind of record. And I think Dan had some real personal stuff going on with the divorce and things like that. A lot of it was positive, and some of it was negative. I think that we’d gone through a lot in the couple years leading up to Turn Blue. The last record has a more dramatic, more serious tone. With such a decent-sized break between records, the last one really didn’t have much to do with this one. To what extent was this album a reaction to your last one, Turn Blue? “Somehow my 17-year-old self has manifested some sort of dream, and it’s playing arenas with Modest Mouse,” says Carney, who looks back on the creation of the album and more. That album, “Let’s Rock,” is out now (Barack Obama just put the track “Go” on his summer playlist), and next month, the Keys will embark on a U.S. Last August and September were fruitful months for the Black Keys’ Patrick Carney: On August 28th, he and his now-wife, Michelle Branch, had a baby, and on September 5th, he and Dan Auerbach went into the studio to start work on the Keys’ first album in five years.
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