Sometimes, disconnecting from reality allows us to come back to it a little lighter, a little clearer—or at the very least, with fresh eyes. It’s about not being famous and not ever reaching those crossover goals that you’re told you’re going to reach when you are one of those young, new bands. Sam France: Well, it’s interesting that you say that. I’m just making that now and it’ll just kind of be about my foray into being an independent artists, I guess. 'Oh Yeah' (says a lot) rattles hazily through lyrical drivel worth repeating largely in full: "it's a bummer in the summertime / everyone's going to have a real good time / arms and legs / bacon and eggs / you can rearrange your mind / if it makes you feel fine / you can chew on gum / if it makes you have fun..." Jivens. While Seeing Other People often withdraws into a void of disillusionment, France at least got one last chance to give a big middle finger to swamp of the leeches, double-crossers, and the record label gluttons. He is certain about some things though, like eventually having family and how “cringey” his upcoming memoir Sam Francisco: The Confessions of an Indie Rock Star is, but the final destination is fogged in the distance. I don’t know why it’s happened to me. I guess we’ll see. What’s trendy right now is to become devoid of anything, of features to become featureless. I really had to just put it somewhere, so it’s all in there. I think the hardest thing about growing up, at least for a lot of people in our generation, is that figuring out our identity in the 21st century. Even make sure your accountant is doing their job. I loved it, and we just decided to keep doing that sort of shit together. Sometimes, disconnecting from reality allows us to come back to it a little lighter, a little clearer—or at the very least, with fresh eyes. But from what I could gather, he frankly could give two shits about any of it: “I’m at a point in my life where I just don’t give a fuck what anybody thinks of me. As well as the unparalleled joy of keeping the publication alive, you'll receive benefits including exclusive editorial, podcasts, and specially-commissioned music by some of our favourite artists. I don’t know, though. It is what makes something interesting, that element of death and people don’t know how to interpret it. We got robbed at Webster Hall. Pitchfork: How did you two decide to start making music together? Honestly, it’s a little brutal for me to read, you know, it’s a little cringey. This isn't saying that Foxygen are inevitably diabolical merely through the sum of their influences. Carelessness (and laziness, and indulgence, and smugness) are recurring motifs here. But first and foremost, as France explained, Seeing Other People “is just about failure. I basically word vomited my entire experience in the music industry onto paper. Nothing is fucking original anymore. Reynard stinks, hence his use in entertaining aristocrats in red coats and their canine friends over the years. “We’ve been through so much of that. It’s just like, okay, I can work with somebody else for like three days on this, or I could do it with Rado in five fucking seconds because he knows exactly what reference I’m making. I think Rado said that other day that it was originally going to be a hip-hop album. It ended up being Foxygen or whatever, but when we first started making Seeing Other People, we really wanted this kind of adult contemporary sound, that strange flavor and feeling weaved in the album. They were like: "This isn't like the Doors!" I mean, yeah, we put a fucking xylophone on "San Francisco". I just know what I know, and so I was definitely writing from that space, having gone through all that stuff. antihexe, edited by Zero Effort, riverajosie2, hipsterstache. Their gimmick is that they hire artists to become nannies and to babysit wealthier children with a kind of "art edge." I’m more of a personality or something. Today's biggest artists discuss lyrics and share songwriting secrets. I guess that was what I was trying to express through the album.”, It wasn’t supposed to pan out this way. I’m making a film right now, for example. I think all the truly good bands that you remember in the mythology, the icons, were bands that are breaking up from day one. But I’m just like whatever, you know, honestly, I think people will like that kind of thing. The rest of the band fucking hated it. Compared to Hang and Star Power, Seeing Other People is the least theatric of Foxygen’s catalogue. Pitchfork: Do you think people will take you less seriously because of your name and the humor in your music? Since Foxygen nudged their way into the limelight with their kaleidoscopic EP Take the Kids Off Broadway and breakout LP We Are The 21st Century Ambassadors of Peace and Love, Sam France and partner-in-crime Jonathan Rado have become accustomed to living in a world of triumph and tragedy at the same time. That was in 2003, so we were a band back then in the whimsical indie era of when the Flaming Lips were big– that’s kind of how we started. But that is how life goes. You know, nobody gets mad at rappers for writing lyrics like I write. One way of understanding the indie rock myth of Foxygen is as a series of reincarnations: Each one the same in spirit, but wholly different in attitude. Sam France: I don’t know. Lands End and The Presidio are both large areas of forest that meet you when you arrive on the Golden Gate Bridge. In-between questions, I could hear France sipping on a hot beverage in some quiet temple of his — a moment of solace he has grown more accustomed to as a solo artist. I don’t know exactly what it is, but it’s definitely unique and unabashed and theatrical, and it’s not really a band. Rado and I have seen our lives and each record as a slow movie. We’re not broken up as a band, but we’re also not like together as a band either. The slightly built Rado, hair tousled and still bearing the remnants of an acne breakout, is wearing a cardigan he nicked from a grandparent's closet. I’ve referenced myself a lot. SF: It's just meant to sound offensive or controversial. I thought it’d be funny to like talk about that stuff. Like literally at all. I don't know why, but it stuck. JR: So just don't fucking touch Rooney's coconut water. Learn the full song lyrics at MetroLyrics. I didn’t figure out it out until recently, and I just happened to write about that in the music. Their audacity to be so bombastic and pastiche, hip and unhip, is the sorcery of Foxygen. Definitely something that wasn’t their best work. I just wrote like a rapper, from the perspective of a rapper on the new record. People are saying stuff like, "Get rid of nostalgia," and there's that Animal Collective song ["Peacebone"] where Avey Tare is like, "Obsession with the past, make your own shit"-- but there are cultural imprints you can't explain. But their willingness to be too much, to step beyond the boundaries of tradition, to take a damn risk is to be admired, even if it is true that they an easier position to do so as a white guy indie-rock band. Sam France: Honestly, I always leave too much on the table with Foxygen, and then I look back and go, maybe I should cleaned that up a little bit. He didn’t give a fuck at all. All rights reserved. (France has since apologized.) But you can figure it out how to do it. I’m not playing anyone any game right now. I don’t know. I left my conversation with France just as uncertain about him as he is for the future. I always read interviews with people and I'm just like, "Why do I care about this dude's fucking opinion?" We’ve been through absolutely every horrible thing.”, If friendship is what held Foxygen together for so long, friendship is also what is pushing them away from each other creatively. I mean, I know it’s a popular thing to say for any guy in a rock band to say that hip hop is really where it’s at. I’m at a point in my life where I just don’t give a fuck what anybody thinks of me. I’ve noticed like people either love the album or it really, really pisses them off, which I think is kind of funny.
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