Stage of the Art

— What can you tell us about The Drums?

After a couple of post-adolescent attempts such as Goat Explosion, the Drums were formed in 2008 by Jonathan Pierce and Jacob Graham, two childhood friends. Although they live in Brooklyn, the soul of the Drums was born in Florida, where some of their first songs, such as “Best Friend”, were written. In New York, Jonathan found the drummer Coono Hanwick, and the guitarist Adam Kessler. Musically, the Drums are a sort of ‘americana’ tainted new-wave. Their music is emotional, melancholic, and addictive. On stage, their energy is fresh and infectious. You have to see them in Paris next February! I wish they were playing at the Cigale. At the moment, nothing compares to the Drums.

— How and when did you discover them?

I met them this fall in Los Angeles, where we became close friends. I would listen endlessly to some of their tracks, but had never seen them on stage. I saw them live for the first time in a small venue called Spaceland. I have taken many pictures of them. Then we developed a project together for my web site.

— You discover a lot of new talents, what flares your curiosity?

To tell you the truth, everything can. But among those I discovered, some inspired me more than others. This was the case with the Drums in the beginning. Actually, I don’t automatically think that everything used to be better, on the contrary. I don’t try to ‘discover’ anyone, it happens accidentally, and is usually based on friendship. For some years now, I have also developed a project called Rock Diary, with my friend Alex Needham, ex-NME rock critique working now for the Guardian.

— Are you particularly sensitive to the beginnings of a band? Why?

Not only in music, but for everything else. In what first emerges creatively, there is something clumsy, an unrestrained energy. No doubts, nothing to lose, no one on your back which, for bands, generally means no record company, etc. Just music. Some people never give a chance to the first draft, always going for whatever has a lot of potential.

— J Jacques Audiard says that nothing is as difficult to film as rock (or sex) because you run the risk of sounding fake… what do you think of it?

I agree, especially after a few years. Actually, it sounds fake when the band is too concentrated on posing, or emulating. Real talent never sounds fake. The same goes for photographers.

— Apart from photography, are there different kinds of projects you would like to try, with the Drums or other bands?

With the Drums, probably, for our two worlds are pretty close. Sometimes I get called in for a job, and then I have to act professional, not personal. That said, if the project doesn’t feel natural to me, I don’t do anything.

— You have changed men’s fashion, do you think there are things to be reinvented in the rock scene?

There is always something to be done. The past is assimilated, sometimes quoted, but, invariably, times change, it’s a generational thing. One must always be concerned by the relevance of a creative intention. Obviously, you shouldn’t ask yourself any questions during the creative process. In the end, for a band as for everything else, someone else decides for you.

— If you had a band, what would you call it?

Right now, I have no idea, but I often linger on a word, and think it would be perfect for a band. And by association, I end up thinking I should have gotten more involved with record labels. But in the end, everything I do stems from pleasure, I do it like a fan. I just need music everyday.

— What are your favourite tracks at the moment?

Actually, they’re all on my web site. “Best Friends” by the Drums is not on it, but it’s probably one of my favourites, as well as all their others. I love “Dead Disco Dancer” by the O Children, a young band from London which I discovered some time ago.

Paris, December 2009.

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