JULIAN CASABLANCAS REVEALS ALL ABOUT THE STROKES’ NEW ALBUM

The singer spills the beans on the follow-up to 2003's 'Room On Fire'...

THE STROKES frontman JULIAN CASABLANCAS has given fans the inside story on the band’s eagerly-awaited third album.

Since 2003’s ‘Room On Fire’, the band have ditched long-term producer Gordon Raphael in favour of David Khane, who has worked with [a][/a] and Sugar Ray.

Now with the record nearing completion, Casablancas told the Alone, Together fanclub that Khane has taught the band to expand their canvas musically.

He said: “I think (Khane is) really cool. I think when you first meet him though, you can get caught in the façade. He has a very technical knowledge and he’ll be very quick to casually spew it out. You might think he’s just some serious slick hit-maker and that he doesn’t care about music, but that’s what he’s all about: music. He cares about it so deeply that if you change a little part, and you’re hurting the song, he’ll cry.

“He likes that atonal modern stuff, so he doesn’t mind being weird and original, and that’s what he prays for. But then he doesn’t mind being weird and original, and that’s what he prays for.

“But then, sometimes something that just has a cool thing that’s not popular, he’ll want to transform it into something that could be more accessible, but all its coolness is erased. That’s the main compromise that we have trouble with. I mean sure, I understand on every mindless level why it’s like, pleasant, but no, it’s not what I want to sing. It’s the difference between lame and cool.”

The Strokes are currently mixing tracks for the as-yet-untitled record in New York. Tracks so far confirmed for inclusion are ‘Vision Of Division’, ‘Razor Blade’ and ‘Ask Me Anything’

Casablancas continued: “Some things on the drums are going to be tricky, and Albert (Hammond Jnr, guitars) may have to mimic two rhythms at times, but it’s all do-able. It’s not like we have a lute and a harp and it’s going to be there live. There’s delay on it. I never liked it, but now it’s sort of everywhere on the record. Not crazy eighties reverb, just enough to give a lot of the instruments space so it sounds fuller, bigger, and louder, and what I used to call ‘More professional’.”