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Mascara Eyes & New Obstacles. Bootlegging Interpol.Feb 18 '04 Write an essay on this topic.
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The Bottom Line I can not get enough of that Interpol. I am... how you say "addicted"?
I did everything, and anything to keep Turn on the Bright Lights sounding fresh. I drove without headlights on the freeway as “Roland“ ran off the speakers. I upped my medication (I don’t have any meds) to accidental shoots of Obetrol while playing “Leif Erikson” over and over pretending to be a sea captain of a ghost ship. Although I was killed on an instant (Obetrol shooting is lethal, dangerous, best stay away from the sh*t). Before the collapse I was pretending to be a Viking sailing the seas encountering China doll dragons and flying monks wearing Godzilla masks, flexing French bicycling legs of steal, kicking my head in. I was brought back to life by a house doctor whom I still (to this day) believe he has telekinesis. I even tried tying the album to my penis whilst I jammed it into (super hot German model’s name here _______) and to no avail she slapped me with a jackhammer and I lost my eyesight, and now I have a hard time breathing. The troubles I go through for entertainment, yeesh. However all of these excursions have led me to believe “Turn on the Bright Lights” is incredible (can not say enough about it, click click click here) album. Interpol’s sound & production has hypnotized me to do such strange things, but what I have learned through the terrible experience is that “it’s an album that transcends moments, and appraisal“-- I LUV it so much, and that is why I can not get enough of it. This album, should of come with a parental warning sticker, telling of the doomed effects it has on a soulless chimpanzee looking for (and not getting enough of) an adventure in recorded music. However, I like any robot, need new programmed development- something (new) & pleasing to the ear. New material, new sounds, gimmie gimmmmie, gimmmmmmie! So in my most bored of moments, I scanned through the download engine I own (and now discarded) for Interpol material. My conquest to devour all lush noises, the binge was starting up again. I could feel my nerves pop, and swivel with excitement with every new song downloaded and put onto my WinAmp play-list. I was careful to elude the Downloading police (DL Po-Po). I said with a boat of confidence,“You’ll never get me, U sonuvabitches, I’uh untouchable like Al Capone during the prohibition act, f*ck all ya‘ll motherfriggers, kill ya with mah Internet chat lingo, ciao!” So I eluded those DL Po-Pos and got my hands on a slew of Interpol tracks to keep my saliva glands from overflowing their cool, filling up forty thousands drool cups. Track 1: Mascara (live@cmj/spin.com) Track 2: Percipitate Track 3: Length of Love (live) Track 4: The Specialist [EP] Track 5: A Time To Be So Small Track 6: Hands Away (-Live at Peel Sessions - 26.04.01) Track 7: Song Seven Track 8: Leif Erikson (Live @ antipode Rennes France 7 Nov 2002) Track 9: Obstacle 1 (Arthur Baker Mix) …And there it is, in all of it’s espionage glory. I went to great lengths to obtain the above information. And if this were to hit the corporate fan I could be doing hard time with the Bossman. It is now billed and documented with a CD-R, and is available for listen at anytime. Please note that it is only nine tracks. I am not a greedy individual, I could of stacked this baby with enough information & data that the rods & cones would been leaking pus from the Disc's pores, instead I honestly made an (bootleg, of my own) and for my enjoyment. Some of the tracks are released (“The Specialist“), and some are not, i.e. rare (ex: alternate take on live “Leif Erikson”). The song order was in my choosing, the title track (and opener) “Mascara”- a jangling dour acoustic remediation of Interpol’s very dark romantic side, takes in the set emotion of this album. Moody, and dark, like my feelings towards acquiring these songs without paying, or by simply downloading. “Mascara” contrasts the emotion of being sly and crafty, the espionage trip into cyber terrain. To me “Mascara” is the most important song on this DIY [EP], not only is it rare, but the sound is mysterious, as is the recording. It leaves a valuable impression of isolation with it’s eerie tone, to start the wallowing. “Precipitate“ is put in the second slot for uplifting reasons. As it is seen/and heard on “Turn on the Bright Lights” “Obstacle 1”’s catch and breathe of fresh air (riff restoration) after the siren grill of “Untitled” makes for interesting play. The overwhelming lead-off track to the soaring riff/and catchy chorus second song. “Precipitate“ nicely follows that suit, and in doing so provides a close compliment to starting song order of “Turn on the Bright Lights“. “Length of Love” (live) is smothered by bass rhythm, almost like a pin-point of Joy Division influence boating in the clear. The adult drone melody of Paul‘s vocal is most fitting to be compared to Ian Curtis here. It‘s a build up song much like “Hands Away“ (the “Hands Away“ version on my Bootleg, is live, more hollow & stripped than that of the produced copy of the same name). Again to impersonate “Turn On the Bright Lights”, I fill the fourth slot with something as ear catchy as “PDA”, and the answer to that would be “The Specialist”. “The Specialist” is a little more low-key, where “PDA” riffs/chorus were as pleasing and professional as Interpol got. The song vibrates with a yodeling Paul on chorus “Love, will get yooooooou dowwwwwn.” dragging the listener to the murky depths from which he dwells “I love the waaaaay you put me in the… Big House.“. The only way out of such a god-awful rut is, yes you guessed it… “The Specialist”. The Daniel scuba solo is much like “Stella was a diver and she was always down” and when Paul finally admits for the Specialist, it feels as if a giant weight has been lifted from his shoulders, although he is mumbling throughout the song‘s dimise. A perfect fit for this DIY [EP]. The fifth spot belongs to “A Time To Be So Small”, it follows “The Specialist” in the way that I saw it to follow. The whispering and mumbling of “The Specialist” continues in “A Time To Be So Small”, except the solo whispering of Paul has now turned into a crowd of talkers (maybe the band, or some dubbing going on), talking about nothing that can be heard, through the song‘s course-- and it all sounds as if subliminal messages are scattering all about. You can not understand the meaningless jabber that accompanies the siren waddle of the song. What better way to follow the “sonic waddling” with some more dragging sonic guitar distortion, “Hands Away” (live) makes the transition perfectly. Although I already have this song on “Turn On the Bright Lights”, it has an added dimension with his live, hollowed out take, the desperation is heard more abruptly by the cymbal/drum build-up. “Song Seven” is obviously placed at the seventh slot because of it’s title. This happens to be as weird a recording as earlier heard “Mascara”- the biggest thing to set “Song Seven” apart from any other Interpol track is it’s introduction of a different vocalist, filling up a line, I think it to be Daniel, or maybe Carlos? Or even Sam? I don’t know… for now he is simply know as the mysterious vocalist. Paul however takes a voice modifier to his vocal, to create a more underwater, drowning vocal, also interesting. “Leif Erikson” (Live @ antipode Rennes France), isn’t the last song on this collection for a reason, and I’ll get to that. As it is known that “Leif Erikson” is by far my favorite Interpol song. So a second (and by all respects, different) version is just what the Doctor ordered. This live version captures the organ (nicely heard) solely sewn to Paul’s wonderful vocal, it is just as dynamic as the produced recording, but more so live, and as thrilling. The last song to fill the bill, and complete the Interpol file; “Obstacle 1 (Arthur Baker mix)”. Now I really wanted “Narc” to finish this baby off, but a remix, of any sorts will do perfectly. The remix, of course just means that “this is how someone else sees the recording”. The Arthur Baker mix splices the beginning riff, on repeat and later adds a bevy of other electro-noises (like lasers, swirls, and streamers) to fill up the song’s (what was supposed to be there) distortion. The remix proves to be fruitful, but of course I’d much rather prefer the produced version. This doesn’t mean that the remix song doesn’t complete my DIY Interpol [EP], no, no, it adds a whole different take, an outside construction of the Interpol world, and to end it this way was a good idea. If anyone would like a copy of this, send me an email Burn_Party@coffin-rock.com including your address, and a reason as to why you dig Interpol-- and I will send you a burned copy, free of charge (I'm only gonna give out so much. I'm not a rich man, or at least not yet). Or if you don’t want my copy, simply make your own, basstard! Luv -John. Interpol's Turn On the Bright Lights  |
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