I don’t have the right instrument to play, can you?”
And so, in the end, it was a fairly quick process to write “The Girl Who Slept with the Devil.” The inspiration came from the band, which was trying to come up with a new song. So we sat in the studio for hours. We didn’t know where we were going, but when we finally came up with it, it was completely fresh.
How did that new music come about?
We were in the middle of recording a double album of material, where the songwriting was more of the more traditional, songwriting sort of thing. We’d have a couple of bands coming in and doing the heavy material. One of them was this big touring band from France. So they wrote “Mama Told Me Not to Tell,” and the rest is history.
I can’t say I was particularly surprised that you ended up going to L.A. to pursue your music career—there was not a lot of music growing up in France that I was exposed to.
Yeah! I’d hear music that was all about that “American Dream,” kind of glam and cool stuff. The “cool” is the key word. There’s nothing “cool” about cool rock music, it has no cool music. I heard people going, “Well what makes it so cool, you know?” Well, music’s a big part of it.
It seems like an important part of my personality that I don’t like music, right? I don’t know.
No, it’s because I wanted to escape into this fantasy world which is actually very dangerous to me. [Laughs.] I’ve had some great experiences as a teenager, at night, on acid, in a rave. I was a fucking kid. Then all of a sudden, you go to the movies and you like a chick or a boy, you get a girlfriend. That’s all I wanted. It’s so easy. But, the “cool” is the real key word.
And that’s what I have the most difficulty facing. It’s like going to a big party on the weekend and sitting on a couch on the floor. I feel weird, like, you’re in this magical world. But you’re also looking at someone and you don’t get along with them. I just need to get out and experience that.
It sounds like you’re looking for something that’s a bit simpler and more comfortable.