![]() ![]() Interpol, while not exactly boldly going where no band has gone before (“A Time To Be So Small” is off of an early EP), certainly can’t be accused of making a cookie-cutter album. Antics lends itself more to quiet introspection. ![]() ![]() While the album maintains Interpol’s signature taut sound-the drumplay of Sam Fogarino providing a bouncy punch, with Dan Kessler’s guitar skipping around Carlos Dengler’s meaty and relentless bass lines-the overall feel is more subdued than on Bright Lights. Sprinkled throughout the album are new wave strings and bittersweet choral harmonizing. ![]() The bluntly love-addled lyrics may border on tacky, but Paul Banks’ vocals give them a nervy and self-conscious quality. Lyrics like “Feast your eyes I’m the only one / control me console me / cause that’s just how it should be done” (“Narc”) and “The anatomy of kisses and a teacher who tries / who knows I will disappear” (“Take You On A Cruise”) make this a perfect album to play while sorting through yellowed love letters. The entire album seems to be treading awkwardly over old ground, specifically in the land of star-crossed romances. The question is, does their new album, Antics, rest on its laurels?Īntics begins with the sweet sounds of a Sunday organ on “Next Exit,” a plodding, slow-dance hymn about returning to a home that’s become strange place. The moody, propulsive guitars and cryptic lyrics of the down-and-out four-piece propelled them into the limelight and critical acclaim. Interpol’s 2002 debut, Turn On The Bright Lights, was one of the year’s best albums. ![]()
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