A Quote by Rostam Batmanglij
One of the things that we talked about was this idea of 'Memento Mori' - like the reminder of our own mortality - and so we were sort of trying to express that in our press photos. And it's one of the themes of the album [Modern Vampires of the City] as well.
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There's something about death. It's like trying to understand our own mortality and immortality. That's why society is so into things like vampires, because they don't die. Well, why don't they die?
We are warned by the Word both of our duty, our danger, and our remedy. On the sea of life there would be many more wrecks if it were not for the divine storm-signals which give to the watchful a timely warning. The Bible should be our Mentor, our Monitor, our Memento Mori, our Remembrancer, and the Keeper of our Conscience.
Things like the movie 'Memento' are interesting to me because our memories of the things we've done and how we've behaved form our notion of who we are, what our character is. So if part of that were missing, what does that actually say about you? And what does it say about your sense of responsibility for things if you can't remember them?
We thought there was also something that was humorous but at the same time powerful and deep about naming the album, 'Modern Vampires Of The City'.
Whereas in America we are so fearful of mortality, we don't want to talk about it, we don't think about it, and in many ways we treat elderly people as invisible because they are a constant reminder of our own mortality. We put them away and put them in retirement homes so we don't want to deal with that.
When I grew up in the '60s, we were actually dominated by this, you know, sort of conforming '50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that's true today.
The idea of flux, kind of constant change, whether it be our sense of time or geological time or cosmic time. It's always there, and I think that maybe it's a way of dealing with the idea of mortality, trying to acknowledge the fact that all things change, and whereas, maybe death is the end of one state of being it's the beginning of something else. I'm not talking about going to heaven or being reincarnated as a toad, I'm talking about the idea that the molecules in our bodies, or at least the atoms, were here at the beginning of the universe, and the sense that we are basically matter.
In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don't mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects - maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books - and Open City actually contains many of the same sort of objects. So, I don't think it's as simple as literary inclusiveness.
It is human nature to look away from illness. We don't enjoy a reminder of our own fragile mortality.
I read the reviews sometimes, but I don't let it really affect the next album because, for me, when I approach an album, it's usually coming to me pretty naturally. It's not like I set out, like, "Okay, I'm going to write an album this month." It's more like I'm just always writing songs and eventually I start to realize that a group of songs sort of fits together, and I go from there in putting together the album and themes and artwork and things like that.
I feel like now fashion is just part of how I think about everything. When I send out a mood board to our contributors every month about our monthly theme, there are photos from our fashion shows, but there are also film stills and album art.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
At WSX I think I was very much trying to figure it out on my own and we were creating our own style and our own thing. I can only speak for myself, I was not trying to be anything. I was not trying to be like anyone else.
We used the Western style to express our own themes and stories. But don't forget that our heritage includes The Thousand and One Nights.
Well, it was actually - I brought the idea of doing a documentary to HBO back in 2000, when there were some press reports sort of were bandied about that there were going to TV movies based on some of the books that were out.
Now that that album's done [TModern Vampires of the City], I have time to revisit things that I was working on earlier, previous to it. I actually found it very helpful to be working on some music on my own.
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