But we think he’s onto something with our sound, and we need you to stay in case we need you to explain what we mean.”
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I want to go.” And he said, “Please stay.” “Why? I’m not doing anything.” “Well, because if you leave, we’re going to fire Dave Kahne because we don’t know how to talk to him. As the producer recounted: “I said, “Julian, I don’t really like this scene. The Strokes were initially reluctant to let him go. David and Gordon… they were not the closest of chums.” We wanted to sound bigger and stronger and all of that.
“We heard of him as just some guy who had technical knowledge. “David Kahne is a pretty complex person,” Casablancas would say. Commercially, their peers were Interpol and the Yeah Yeah Yeahs. Modest sales for their 2003 second album, Room on Fire, had confirmed their status as a big underground act. Yet The Strokes couldn’t help but notice that, in ringing tills if not in kudos, they had been overtaken by a generation of younger artists. It is slightly deflating to learn that the hippest band on the planet would have happily traded some of that cachet for a little more chart success.
But, out in the real world, they were only almost famous. The nagging issue was a perceived lack of commercial success. But the rot had arguably already set in when, in January 2005, The Strokes retreated to Allaire Studios in upstate New York to start on their third LP. “I would suspect that they soon learned that I was not the problem.” “It was easy to brand me as the problem,” he told Goodman in her 2017 book. The 35 greatest debut albums of all timeĪdams had a different take, feeling he was being scapegoated for instabilities within the band.
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