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Andrew WK
Andrew WK performing at Ozzfest,
PNC Bank Arts Center, NJ, July 20, 2002.
Photo by Glyn Emmerson © 2002 NY Rock.


 

Interview with Andrew WK, by Talia Soghomonian

Andrew WK's debut album, I Get Wet, is rock like it's meant to be – shamelessly loud and proud, yet melodic. Live, it's a celebration. A party, according to Andrew.

Clad in his now off-white white tee-shirt and jeans, Andrew goes straight from the stage to mingle with the Parisian audience after his energizing performance, which, for Andrew, is the rock
'n' roll equivalent of a high-impact workout.

I witness his social skills as he mingles and signs lengthy dedications and autographs for, oh, half the people in the venue, who seem to be more interested in him than fellow opening act Hoobastank and headliners Less Than Jake.

As I write down a fan
's name, which he asked me to spell for him, I also manage an "R U ready?" My first question for him. Moments later, we are alone in his dressing room. A very determined Andrew does more than answer my questions – he tells me the real meaning of party. And you're all invited...

NYROCK:

Is it true you cut yourself up during interviews?

ANDREW:

Well... No, but I have done that by myself a lot.

NYROCK:

Why?

ANDREW:

Oh, numerous reasons. Usually just to get focus, just for fun. But there are times I did it when we were taking pictures, too. But never in an interview, no.

NYROCK:

What does the bloody nose on your album cover signify? Life, too much partying, illicit substance abuse?

ANDREW:

You know what is interesting? It doesn't signify one thing in particular at all, which is to me much more exciting and much more thrilling. I always say [it's] so much cooler when you can look at something and say, It is what it is and nothing more, nothing less. But, by the bloody nose you're not [saying], It means this, it represents this, it pisses over this. It's absolutely everything. It's whatever you want it to be on that day. It means something different the next day. All I thought of for that picture was, I'll have a picture of a bloody nose. It's actually that simple. But there are times when I think it represents all different kinds of stuff, but it's... just purely a cool picture.

NYROCK:

Did you expect the controversy it caused?

ANDREW:

No, no. But I didn't think a lot about it either, so maybe if I'd really thought what would people think, maybe I could've predicted that a little better. But, no, it was just a natural thing that people had seen and most people have had a bloody nose in their life. I didn't think it was a violent kind of gory, unusual kind of thing. It was just basic. It was very, very familiar. But I can understand, you know. Blood and all this make certain people uncomfortable. I understand why it upsets people. I didn't want it to upset people. I thought it was cool. But I do believe when people cover it up or ban things like that, they're obviously doing it for genuine reasons and I respect that.

NYROCK:

Blood is actually part of the recurring wet theme on your album.

ANDREW:

Seems to be, yes.

NYROCK:

What is wetness?

ANDREW:

Well, as you can see now, wet means soaking wet afterwards, after a concert. It just happens. It's a theory, a tactile, real way for me to go throughout a gig, like an effort. To get that wet, sweaty, to exert that much, to push that much water out of my body, [it means] that I did a good job. It's all just about not holding back and not restraining oneself. I always say, Don't stand on the edge of the water if you can dive in.

NYROCK:

Now your main theme and claim to fame – partying. Define partying.

ANDREW:

A word that represents excitement, fun, unconditional acceptance and overwhelming happiness. That was just one small word that said so much. A party was a place where no one was thrown away, where everybody could do what they wanted and no one would come [and say] that they were doing the wrong thing or that they weren't cool. They would do what they wanted and that was accepted. That's what I've always wanted in my life; that's what I've always dreamed of.

What I'm trying to make here is a place where people can feel good about who they are.

This is one in a million. How many people get to do this? So I want to use that and try to make as many people happy – if I can – with it.

NYROCK:

Do you throw parties yourself?

ANDREW:

If I have time. We just threw one tonight (meaning concert). It was good enough for me.

NYROCK:

Yeah, for me too! Is there anyone you wouldn't invite?

ANDREW:

Not really. I would never think of it like that.

NYROCK:

What about bin Laden?

ANDREW:

No, I'd invite him, then we would capture him! It would be more about who I would invite. I wouldn't think about not inviting certain people. I would invite those who would want to come.

NYROCK:

You started out as a classical pianist, then you started playing drums. Why the switch?

ANDREW:

   Andrew WK
Andrew WK performing at Ozzfest,
PNC Bank Arts Center, NJ, July 20, 2002.
Photo by Glyn Emmerson © 2002 NY Rock.

 
Oh, when I was 13 or 12, I was in a band. The first person I ever really played music with was this dude in my school, and he and I would just play in our rooms. Never played shows – we were very young. He would play guitar and I would play keyboards and sing and it was very fun. Then I formed some bands with that dude. Sometimes I'd play bass; sometimes I'd sing. It was just sort of having fun. We never played any concerts, but that's when I would sit down every now and then and just tap away at the drums.

I remember for a graduation present, my parents bought me a drum set, just a small drum set. I added pieces to it. [I'd] save up and buy a new cymbal or save up and buy a new drum, just keep building it bigger and bigger. And the more I played, the better I got. It's such a hard kind of instrument. It's so energetic, still one of my favorite [instruments]. Still if I'm listening to music, I'm usually playing the drum parts by [tapping] the air. If I ever sit down and play alone, I would play the piano.

NYROCK:

Drums seem to feed your infinite physical energy.

ANDREW:

Oh yeah! I like exerting, you know.

NYROCK:

You have a very physical show and you're also pretty muscular. Do you have some sort of energizing fitness plan?

ANDREW:

I try to exercise as much as possible, trying to get stronger. Even if I don't feel good, I never will feel worse when I go to the gym. I'll always feel better if I go and exercise. If I just run around the block, if I go lift a weight, whatever, just pushing things, exerting always makes you feel better. And I think it's important for my mental health. I think it's important for me to feel strong, 'cause I want people to know that I'm going to be okay. I want them to know that they can count on me and rely on me, that I can carry the weight of all they could put on me.

NYROCK:

You have a very positive outlook considering the dreary state of the world. Is your optimism a part of the Party Theory?

ANDREW:

Yes, but a party could be two people or two thousand....

You get pushed down; you get back up again. [If you] find another roadblock, another hurdle, just go over it and just keep going. It's not what you do; it's how you do it. It's not where you go in the end; it's how you get to where you ended up.

NYROCK:

You talk a lot about love – loving things, not being afraid to love things. Are you a spiritual person?

ANDREW:

Yeah, because loving, that's the answer in the end. I'm not very religious, not at all actually. In fact, I like religion and I really respect it and I admire it and certain elements of it, I find wonderful and inspiring. But I myself do not follow any one faith except my faith in life itself. But one thing I always found at the very basis of certain religions... Remember "The Last Temptation of Christ"? Did you see that movie? It's very good, and there's one scene in it where He's talking. He's like, "When I was looking for the answer, the only answer that came, the only word that came out of my mouth was love." And that's what I was just saying; that's the acceptance of everything.

It's absolutely overwhelming and it's even hard to talk about, because it solves any problem; it ends any dispute; it explains any confusion; it instantly absolves the guilt and shame and the threat. That is the answer. To everything. It's also the hardest thing to do, apparently. It takes so much strength to love something, because you either give yourself to it whole-heartedly and entirely when you love something, and you trust it and you have faith. And once you give yourself up to something, you feel as though you might be let down. You know, it's scary. People, including me, we're all scared and reserved when it comes to believing in things, even if it's ourselves and loving things and having passion and faith.

Sometimes it's looked at as not being cool to be passionate about something and to say, I love this with all my heart and I'll do anything for it. Some people will think that's cool and some people will think it's stupid and think it's better to be just "uh, whatever" about anything. But that's not the answer and that's not strong. Again, that's being afraid. I'm afraid a lot, but we're going to try really hard to not be afraid anymore. And it's not corny and it's not stupid. It's huge. That would solve everything in one swoop.

NYROCK:

So you think the world would be a better place with more love?

ANDREW:

Of course. I think if people treated others how they wanted to be treated, we would not have disputes. If people could take a step back from themselves, then a step back from their friends, from their surroundings, their country, their chemistry; a step back from their whole world and look at the earth as this ball, this miracle in the midst of blackness. It's an absolute disgrace that we act the way we do, but what are you going to do, you know?

NYROCK:

You sing about the so-called classic love too. "Girl's Own Love" – is that a love song?

ANDREW:

Yeah, that's a song about frustration and disappointment in a situation where you really like someone and you're trying everything to show them. And they take what they want and they really don't give back.

NYROCK:

And is the story behind "She is Beautiful" true? Are you really that shy? That sounds like another frustrated love song.

ANDREW:

 Andrew WK
In some situations, yeah. It's weird, I find myself being very shy. Such is my nature sometimes. I think it's everybody's nature sometimes to be shy. It's okay. I think it's actually a good thing. I think it's reflective and cautious and protective of oneself, and that's okay. But the shyness I'm talking about there is kind of self-hindering in that it was me being scared more than shy. When I was younger especially, I was very scared to talk to a girl that I liked. I regret it. To have regrets is horrible. I would just wish more than anything, Why didn't I go and talk to her? Why didn't I say hi? I may never see this person again. It was a way for me to get in that mindset: I have nothing to lose; let's go for it. What's the worst that can happen?

It doesn't apply just to a girl or any other woman or a person. It applies to day-to-day systems, so no regrets. Don't let yourself have regrets. And if you do end up regretting, turn that regret into a frustration, and turn that frustration into energy and power to make sure that you don't do it again and apply it to the next day.

NYROCK:

Some people are calling you an innovator, the re-inventor of rock 'n' roll, but it's always been there...

ANDREW:

Exactly, I agree with you. I respect and am very flattered and very honored and very moved when people would make statements like that. I don't just say no; I'd say, Thank you very much and I'm glad you like this. I love it too.

For me, nothing needed to be re-invented or saved or fixed or changed. This is not a reaction to things being wrong or bad. It's absolutely the exact opposite.

I want to give it and spread it out to everybody and let everybody know that they're not witnessing it. They're in it, inside of it.

NYROCK:

In the heart...

ANDREW:

Yeah, in the heart of it.

NYROCK:

So when do you think you'll start recording your second album?

ANDREW:

Well, in September, I want to reorganize. I have ten songs done and a lot of them are recorded, like rough versions. We have too much right now, so I want to condense it... I think I'll do that in September. And then we're going to tour for about four months, I hope, after that. So that's October, November, December, January. Then I hope to record the album after that. But you never know. It depends. It's in the works though.

NYROCK:

Well, what's the second album going to sound like?

ANDREW:

Just huge music. It's a tribute to music. This is me saying, Music, you have been my best friend and you've given me more happiness and more adventure than any human deserves. And for the rest of my life, I'm indebted to you. Music, it is my honor and privilege to work for you. What do you want me to do for you?

And music then says, "Do this." And I say, "Okay." It's music for the sake of melody and that is everything. And that's why it's going to be as big and loud and huge and sparkling as possible. It blows me away. I often get the songs – I'll think of something so good, and then I'll just forget it. It'll be gone, never comes back again.

NYROCK:

You should take notes straightaway. I often get up at 3 a.m. with ideas for my fiction stories...

ANDREW:

You write fiction? Oh, that's awesome! We have to talk about that.

NYROCK:

My mind is very inspired at night, so I get up and write those ideas down 'cause I know I'll have forgotten them in the morning.

ANDREW:

Isn't that great? Good for you for doing that. I always work best at night too. I'll get up in the morning – sometimes I have dreams of melodies – I'll wake up and I'll think so hard to try and remember it. Most of the times it turns out it's actually not very good at all. But I'm always holding on. So you write stories?

Here's one of my favorite authors I'm reading right now. Do you know Roald Dahl? (Yes. Talia loves R.D.) Isn't he good? (Yes.) Have you read his short stories for adults? (Yes.) Oh my gosh! Mind blowing! He wrote one I just read – very short, like three pages – called (gets up and gets book from his suitcase) "Genesis and Catastrophe." It's about Hitler being born and it's a true story. It's very short though. It's just an account of that birth.

Apparently, they – the husband and wife, the Hitlers – had three children and they had all died, some very early, some after a year. The mother was just devastated. They had this fourth baby, and the father was like, "He looks very small and weak. He probably will die too." But the mother's like, "No, he must live!" At the end, the doctor's like, "He's going to be okay. He's going to live." And the last line is (flips through book and reads mother's lines), "I have prayed so hard that he will live... Every day for months I have gone to the church and begged on my knees that this one will be allowed to live... Three dead children is all that I can stand... He must live... He must... He must... Oh God, be merciful." And then he [lived] and look what happened.

It's a good collection of short stories.

NYROCK:

What does W.K. stand for besides your last name?

ANDREW:

Oh, besides my last name, which you already know somehow, Wilkes-Krier... It stands for Wild Kid, Winter Klondike, With Keyboard, Wonder Kid... King, White Killer, World... World... fuck...

NYROCK:

World Kingdom.

ANDREW:

Yeah, World Kingdom. That's very good... And a million other things. With Keyboards is one of my favorite ones. Some kid told me that once. I thought that was good. That's what I would want it to stand for. Who Knows? That's what it stands for.

September 2002

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