The band spent six weeks recording the album with Raphael at his Transporterraum in Manhattan. The basement studio was limited to the basic tools to record the EP, but the producer rented a second 888 interface for the album recording sessions. “I thought that if I could put a bottom mic on the snare, my life would be better,” he’s said.
Raphael recalls that at the very beginning of the album sessions, Julian told him: ‘We have the time to do this album right. We still want to keep the live feel, but I don’t want to hear one moment on this record where I’m speeding up or slowing down. I just don’t want to hear it, and I want you to help me with that.’”
Raphael made his decisions based on the band’s physical reactions to elements of the tracks. “They couldn’t tell me that they wanted the voice brighter and it wasn’t making them happy. They would just have big frowns on their faces and I would start turning the knobs on every piece of equipment until the frowns began turning into smiles. That was technique of working with The Strokes.”
Credit: Pieter M Van Hattem/NME
The woman in the photograph on the original album cover, taken by Colin Lane, was later revealed to be Lane’s girlfriend at the time. The shoot was spontaneous, and was inspired after she came out of the shower naked and Lane spotted a leather glove left in his apartment by a stylist. “We did about 10 shots. There was no real inspiration,” he says. “I was just trying to take a sexy picture.”