Interpol - Antics

Genre rock Publisher Matador Records External Links Interpol Matador Records

The halcyon days of 2002 seem so far away, even if they were only two years ago. A bountiful year it was for indie-rock indeed. Out of that year came a band from New York that didn’t have a "The" in their name. That band was Interpol, a four-piece weaned on the gothic dance grooves of the '80s, but with a style and sophistication reminiscent of a David Bowie in his late-"Berlin" period.

With the stunning vocals of Paul Banks, who incorrectly has been plagued by Ian Curtis (Joy Division) comparisons, despite seeming to owe more to Paul Gates* (The Blue Nile), Interpol had a distinctive edge right there. But the inclusion of Daniel Kessler's guitar work (Kessler also writes all of the band's music), and the bouncy rhythm section of Carlos D. and Sam Fogarino, along with the band's penchant for midnight mood music and playfully cynical lyrics, Interpol were much more than many could have anticipated on first listen. Their debut, Turn On The Bright Lights would soon become Matador records' highest-selling release and would keep the band on a seemingly never-ending tour as fans clamored for more and more.

Like their NYC contemporaries The Strokes, or their San Francisco brothers Black Rebel Motorcycle Club, both of whom struck a similar chord in and around the same time, Interpol had to eventually go back to the studio to see if lightning could indeed strike twice. Whereas both of the other bands mentioned failed, either by replicating too close to their debut (The Strokes), or by falling completely on their faces (BRMC), Interpol rise above the dreaded sophomore jinx and manage to make an album that is different in many ways to the debut. Though they never reach the highs of their debut, come damn close and show a confidence and stability needed to continue on in the face of such damning success out of the box.

The album starts out with the lovely organ-filled splendor of "Next Exit" and right from jump the listener will know of the differences I speak. The solidification of their sound is further evident in the next track, "Evil."

Featuring as stunning an interplay between Carlos D. and Fogarino this side of the band’s "Obstacle 1", "Evil" bounces behind the driving guitar of Kessler and the vocal intonations of Banks. Singing, "Leave some shards under the belly/Lay some grease inside my hand/It's a sentimental jury/and the makings of a good plan," Banks' vocals come to the forefront and he sounds as if he's smiling as he rapidly fires off his lyrical salvos.

The album's single, "Slow Hands", is not entirely dissimilar to the debut's lead-off, "PDA". Both are up tempo tunes where the guitar drives the rhythm instead of the other way around. But, whereas "PDA" became quite tired with repeated listens, "Slow Hands" only grows with time. It's sound deepens, and the rhythm section is revealed to be again the band's ultimate secret weapon. Laying down a stable groove, while Kessler skronks things up, Fogarino and Carlos D. are an impenetrable force.

When the band goes for a more straight-forward sound, as they do on "C'Mere", it is shown to be their weakness. "C'Mere" suffers from a locked-in rhythm and an overall lackluster performance. But, as it is really the only time that Interpol breaks bad, it is easily forgivable.

With the sophomore jinx nonsense now safely put to rest, Interpol is now able to move forward comfortably and confidently towards their future pursuits.