Interpol's Antics darken significantly in brilliant sophomore effort
Written: Jul 16 '05
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Product Rating:
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Pros: Most of the tunes have dark, ethereal beauty, building to an emphatic conclusion.
Cons: Instant tunes such as Slow Hands can grate on the nerves after further listening.
The Bottom Line: One of the albums of 2004 and definitely grows on you within a few listens. Not as instant as Turn on The Bright Lights but just as much brilliance.
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| great_adamski's Full Review: Antics [Slipcase] by Interpol |
Interpol are somewhat ignored by the monster that is the NME hype machine, however compared to some of the regurgitated indie nonsense that is consuming the charts these unsung New York boys are providing beautiful atmospheric music.
Upon discovering Interpol i was heavily lulled into the impression that many delusional teens fall into, that whatever the indie rag NME tells us to listen to is gospel. Already a Joy Division fan i am always sceptical when someone informs of a band's likeness to one of the greats of a genre, so i proceeded with caution when he depicted them as "sounding like Joy Division."
Such comparisons and labelling of Interpol is inaccurate, and belies their own ability to craft dramatic moody music that thrills and entertains. Lead singer Paul Banks' vocal delivery displays dexterity Ian Curtis did not. Engaging the listener with a charismatic delivery, but more noticeably actually sings his lyrics, a concept which was not embraced by Curtis.
Now we have established Interpol have their own identity in their music, it is in the knack of the song structures and the general tightness of the band, in which each member brings a different ingredient to add to the overall blend.
Opening with the eerie Next Exit, the sounds of a keyboard synthesizer are emitted as Paul sings. "We ain't going to the town/We're going to the city." The formula of a simple riff and drum beat is intitiated. These lyrics indicate Interpol's ambition to step out from this shadow of other bands whom they might be likened, too affirm this identity. "With no end" is repeated defiantly at the conclusion of the song. The the lyrics build over a luscious guitar loop and crashing drum beat, a dramatic conclusion and good opening to the album.
The album continues into the unmistakeably catchy bass riff of 'Evil.'provided by Carlos the bassist. "Rosemary, oh heaven restores you in life/ You're coming with me, through the ageing, the fearing, the strife." Then a guitar fill,which pauses for the reflective lyric "hey who's on trial," precedes a mighty singalong chorus. "It took a lifespan, with no cellmate, the long way back/Sandy why can't we look the other way." These lyrics are ambiguous in meaning, but the catchy hooks, and wonderful bass line ensure it is a foot-tapping success.In the finality of the song Banks more aggressively demands, "why can't we just play the other game, why can't we just look the other way." My interpretation of this is turning a blind eye to an error or fitting with the jail theme crime in a relationship that someone has made and implores for his partner not to persecute him for this.
'NARC' begins with another appealing riff and plodding drum beat that evolves throughout,Interpol have this distinctive formula of song structure. Paul's nonchalant delivery kicks in. "Touch your thighs i'm the lonely one." Then progressing with this wall of majestic sound into the chorus, "She found the lonely sound...Oh love can you love me babe/Love is this loving babe/Is time turning around." The confusion and documentation of love here is delivered with these great lyrics, the world stops turning for the one you love. The emotion of this subject matter culminates in a brilliant break-down into impressive instrumental guitar and bass loops, before delivering the heart-rendering burst of noise that concludes with the powerful bellowed lines, "You should be in my space/ You should be in my life."
The climax of this song induces a breathless wonder in the listener,the pace relents as the laid back punchy, Take you On a Cruise kicks in with a familial jaunty, and dare i say funky chord progression. Finishing with the lines, "We can't get back from here we can't get away." The poignancy of a single guitar rings a gorgeous note, as Banks murmurs, "Lady don't you try to find me/Baby it will be alright." The track then evolves further into this stomping drumbeat and funky bass delivery over a single effective guitar as Paul returns with, "White Goddess, Red Goddess/Black temptress of the sea, you treat me right." Haunting and dark the song is best summed up by the phrase, "tears will drown in the wake of delight," prolonging a positive notion above the morbid tones that a partner cannot be help their loved one through trauma.
Now onto a big commercial breakthrough from the album, but for me one of the weakest points. The riff and construction of this tune sound very similar to the angular jabbing riffs of something like Franz Ferdinand a territory i feel Interpol are above. Yet very anthemic in the quiet progression to the chorus. Can't you see what you've done to my heart and soul/ This is a wasteland now." The lyrics are emotional and well written, the key to an Interpol track is the build towards the end of a track with an instrumental progression where the vocals are absent and then return with greater emphasis. Though this evolution appears to happen to ward the end of the song, instead it throws back the same shallow chorus, "We spies/oh yeah we slow hands," for me a disappointing track and one of the lowpoints of the album.
Yet instantly the lads return to form as the drumbeat crashes in for 'Not Even Jail.' Followed by a devastating bassline and some lush synth melodies, creating a nerve pounding sound. This gets more chaotic and hectic as the chorus rushes in "Remember take hold of your time here/
Give some meanings to the means/To your end/Not even Jail." An interesting proclamation from Banks,not even jail can stop us enjoying time on this earth. This song makes its journey to the instrumental with which it concludes that paints landscapes and euphoria that are installed before hearing my personal favourite tune on the album Public Pervert.
The song opens with simple lyrics and melody, a subtle synth and guitar construction set the basis for Banks touching voice, "If time is my vessel then learning to love might be my way back to sea." The crashing, crunching guitar riffs then conjure a great choruses as the instruments swell Banks voice broadens on the scale of the music, "Oh, so swoon baby starry nights/May our bodies remain/You move with me, I'll treat you right, baby/May our bodies remain." Then a solemn riff and drumbeat evolve into this dark eerie swarm of sound, from which distorted guitar sounds grow into a euphoric cataclimactic rush of sound that stirs senses and emotion.
C'mere is another track released from this album, it is an unremarkable song but builds nicely into a crushing guitar heavy chorus. "And so may, we make time/Try to find somebody else/This place is mine." The melodies are succinct and tuneful, although perhaps lacking the depth or layers of guitars on the other songs. The best part is the delightful riff, that builds into Banks singing "Oh, how I love you in the evenings/ When we are sleeping/We are sleeping. Oh, we are sleeping." This marks ideals of the singer that he prefers his partner when she is sleeping presumably he does not want to be bothered by her. This characterises the imperfections of a relationship.
A frantic riff and drumbeat surround Length of Love, which although being one of the weaker tracks on the album has its moments. The vocal delivery is almost a snarl, "Congratulations," yet the darker atmospheric feel given by the use of distortion and feedback off the guitars provides the frameworks for perhaps the darkest song off the album, if in the mood this song can provide a worthy listen.
Antics concludes with 'A Time To Be So Small," a very wondrous tune based around a spacy guitar riff. This subterranean feel to the tune is enhanced with a great synth effect and some beautiful backing vocals surrounding the lines,"when the cadaverous mobs/Save the doors for the dead man/You can not leave." Also to note the use of cadeverous made me laugh i struggled for ages to listen to what he was saying and even being a English degree student i had not come across such a word.The instrumentation that closes the song and the album induces a dreamlike serenity and this song is a perfect closer to the album.
All in all this is a commendable effort from Interpol. Bear in mind this review was written a good six months after first listening to the album, my opinion or should i say epinion has changed a lot since then, yet it sticks in my mind as a very original piece of work and one of the albums of 2004. Is it better than the previous effort Turn On The Bright Lights? I think both stand out on their own merits, though the song content of this, and at times musicianship belies that of a much more mature and grown-up band.
Recommended:
Yes
Great Music to Play While: Hanging With Friends
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great_adamski
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