We’re in a fantasy football pool together and we text a lot. I was always curious, why did you stop working with Danger Mouse after that hot streak you guys had together for a few years? My MO with the band is it should be enjoyable, and also you can’t knock it till you try it. He vocalized that to me, and I was all about it. But sometimes Dan likes to have some help with lyrics. We never have problems with the music it’s not really an issue, the music just flows. We knew we didn’t want any other producer. And I think we never even considered anybody else. When we worked with Danger Mouse, that was fully collaborative. Was it that you and Dan didn’t feel like you needed to involve a lot of other people before, or you just didn’t want to? You’ve talked before about how this is the most collaborative album you’ve ever made. So we’ve been able to spend a lot of time in the studio. This time, it feels similar to that and, you know, touring is way less of a commitment than when we were in our late twenties. But luckily we did cancel some shows and get in the studio, and we made El Camino. When we finished Brothers, I knew that it was our best record, but I knew that we had a lot more fuel in the tank then that we didn’t really capture because we spent it all on tour. We’ve learned over the years that when it’s happening, to just let it go and let it happen. I mean, we have most of another record complete. Just for fun, or do you think that will turn into anything? And we’ve been in the studio working since we finished this record. But for this album, it felt like when we made Brothers. I guess maybe there was a little bit more ego from both of us going into Let’s Rock because we hadn’t worked together in a while, and maybe there was a little insecurity there. This record is us completely on the same page, having fun, and being really creative and working really efficiently. I guess as you get older… guys just have a hard time making friends, and I guess Dan and I just realized that we’re each other’s best friends. And it was really the first time that I had socialized with grown men in like a year, because I was living in my house with my teenage stepdaughter, my wife, and her sister, and it felt really good to like, get around Dan.ĭuring the making of Dropout Boogie, we bonded harder than we ever have in the past. When Dan called me to do what became Delta Kream, it was exactly what we were looking to get out of music. It was fun, but I knew we could make a better record. So that was exactly what Let’s Rock was-it was kind of a transitional record and us figuring out how to work together again. ![]() But in 2018, I was like, we should do something, and Dan’s like, yeah, let’s make a record. We never talked about breaking up or anything. We had reached this burnout, and we both went away and did our own thing for a while. It wasn’t even something that we discussed. If Let’s Rock was an exercise in getting the band back together, and Delta Kream was more of a spontaneous one-day session, then what is Dropout Boogie ? What’s the energy you brought into this one? But that’s not to say they got too cushy for Dropout Boogie, which marks their most collaborative album to date, with contributions from Billy Gibbons of ZZ Top and Greg Cartwright of the Memphis rock band Reigning Sound.īelow, Carney talks to The Daily Beast about getting comfortable with outside collaborators, his love of Devo (and subsequent frustration with the Rock & Roll Hall of Fame), and how he and Auerbach came to the realization that they’re “each other’s best friends.” As lead single “ Wild Child” proved, they can still make a simple, sub-three-minute song electrifying without overthinking it (a few of the tracks on the new album are first takes, with imperfections left in). That might be because Carney and Auerbach aren’t trying to reinvent the wheel. This is the duo’s 11th album, which makes them, perhaps improbably, surviving champions of the early-aughts garage-rock grind. Now, they’re full steam ahead on Dropout Boogie, which arrived on Friday, a day before the 20th anniversary of their blazing DIY debut, The Big Come Up. Their 2019 comeback record, Let’s Rock, was mostly a throat-clear, paving the way for last year’s Delta Kream, a collection of hill-country blues covers that reignited Carney and Auerbach’s spark in the studio. And while a lot’s changed in the musical landscape in the ensuing years-including the diminishing popularity of rock music as a whole-The Black Keys have managed to emerge stronger, more united, and more focused than ever.
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