We join Jared on the day It’s The End Of The World… is released. We also find him in a very good mood. He’s immensely proud of the record, although he says he has – as ever – avoided reading any reviews, not wanting to muddy his own feelings about it.
“I trained myself in the very beginning of my career to do that,” he explains. “It’s intoxicating when people approve of your work and support you. But it's a seductive thing. So I've always stayed away from it. There’s that old cliché, ‘If you believe the good, you gotta believe the bad,' but somehow the good always makes much more sense.”
You kind of expect this sort of thing from Jared. Not a man given to doing things the easy way, or rushing things, or only going half the distance, it follows, then, that such outside intrusions don’t play much of a part in the Thirty Seconds To Mars world. He and drummer brother Shannon are also in the rare and fortuitous position of being able to do music as and when the muse strikes them – helped by the not-inconsiderable matter of Jared’s side-hustle as an Oscar-winning actor – where so many bands start to feel the managerial whip cracking for a new album barely a month after releasing one.
Noting it’s been five years since their last record, 2018’s America, itself a half-decade away from Love, Lust Faith And Dreams, and almost a full one from their breakthrough This Is War, we ask if the difference between albums (It’s The End Of The World… is awash with mellow electronics and calm moments, far away from the arena-rock bombast of This Is War) can be put down to time providing a detoxing distance between writing. That is, coming back with a properly clean slate.
“Yes,” comes his answer with a laugh, after a lengthy, deep consideration. “We average about four or five years [between albums]. We’ve made six albums in 25 years! Even our first album, when we got signed in ’98, we didn't put the album out till 2004. Who does that?!
“We do take a long time. And the nice thing is, like, you change as the world change changes, your interests change. So, yeah, it's a great way to reset everything. And if you're not changing, I mean, that's an interesting thing. Some visual artists look the same for their whole career, some change over the decades.”