Interpol - Antics

I finally got out of my Spencer Krug kick with some snow and a day off from work. It’s a little strange really in that I’m at home and not really sure of what to do with myself. But so I’ve gotten tired of listening to music on the computer speakers because it sounds so bad and I decided to grab something on vinyl and just blast it off the stereo speakers. I remember listening to Antics in 2004 and loving its dark undertones and currents, and how everything swirled around their lead singer’s spectacular voice. I remember reading how this was ‘light Interpol’ as compared to the supposed ‘dark Interpol’ on Turn On the Bright Lights and well, I was still confused. Interpol’s always had a dark sound – and it’s a genuine darkness too, unlike what all the haters say – but on a few songs on Antics, I guess, they shine some light on the ominous snow.

One of the instantly recognizable songs is “Slow Hands” and its hugely dance-able rhythms and patterns. Not to mention that the words are some of the easiest to sing along to; but what really makes it stand out is how well everything seems to fit together. It’s kind of about being awe-struck with someone and realizing that there is so much going on around you that you’re missing out on. He sings “And I might stop and look upon your face…disappear in the sweet, sweet gaze” in where he simply gets lost by her “charms & grace.” The guitar is the stunning melody that always drives through and I especially love the way the instruments come in and out of focus before exploding on the choruses. All of it’s so well done, I wish I knew how to play guitar so I could sing “You make me want to pick up a guitar and celebrate the myriad ways that I love you” and actually mean it. Ha, until then.


For the longest time, I always thought of Interpol lyrics as some of the best around. It wasn’t until most recently that I found out they aren’t really that good? I’m not sure but I love the honesty and sincerity in something like “C’mere.” I remember being deeply in love listening to this song and lines like “Oh, how I love you, and in the evening, when we are sleeping” are easily affecting because of how they pinpoint just how beautiful normal life can be. The ‘oh how I love you’ line is so endearing, in how you get lost in her gaze (like mentioned before) and you just need to tell her how much you care for her. I still love the song as much as I ever did before – I’m glad it didn’t lose that luster and glean – but I can appreciate it for its overly lovely presentation now more so ,too. It’s a nice soundtrack to a snow day in. – Bryan

Interpol – Interpol

It’s been a slow month here, again, and not because I haven’t been busy with other stuff. But I had to come and devote at least 20 minutes of my time into Interpol’s latest, new, brilliant album. I had heard some bits and pieces and was initially, a bit disappointed. I knew I would still buy it no matter what so when I finally put it on and gave it time, Interpol blew me away. It’s a dark and gloomy album and at times, depressingly realistic but on switching back to Matador, I think they’ve captured some of the magic the first two albums had. Don’t get me wrong, Our Love to Admire had some soaring highs but like the year 2007, those highs had to end. The new one is stunning and is most definitely, one of the best albums of the year. So here are two songs that I dig a lot.

“All of the Ways" is basically a bitter, broken and battered old soul reaching out to his long and now, lost, love. He asks, “Does he make you smile? Does he fully embrace the way…who is this guy?” as if he has some kind of right to know and beyond the fact that it’s a staunch nostalgic reminder of what can happen when love breaks down, the song is filled with a tremendous amount of sadness. There’s the recurring piano theme that first appeared earlier in the album, there’s pounding chords of dissonance and it’s a vast cloud of darkness. It’s creepy and intensely jealous, as if he is obsessed with her, he sings, “I know the way you will make it up, make it up for me.” Sounds like Interpol all right:


I wish I could fine one that mixes them in because that would have been heavenly to hear how they just melt into each other on the album – sorry. But “The Undoing” is like the misty, hazy next morning that finds you scratching and clawing yourself out of bed. Red-eyed, alone and “chasing my damage,” the song bends into Spanish lyrics! I mean, for a moment, if you bliss out to the music (clashing chords of strings that are utter beauty, ominous swelling and a drum pattern that is jagged and still, pacing) you forget that he is singing about God and Satan. Depicting Lucifer’s plight and struggle to move past God, the title of the song is sung in Spanish, “I’m used to losing, losing to ‘the undoing’ (desahcer)” and “Al puro perder el ganar no compara (Victory does not compare to utter defeat),” eventually “Sobreviviré” = “I Will Survive” and in the end, he’s asking us to “please place him” and to tell him where he is now, hell. Leave it to Interpol? Yeah, it’s pretty dark. – Bryan

Beirut – “On a Bayonet,” The Mars Volta – “Asilos Magdalena,” Interpol – “Direction”

I had some haunting dreams last night so I was eager to wake up and blast some music. And sometimes you have to mix things up, so for this post I will be posting three songs found at random on my music player. Well, not entirely random; I’d stop in a random spot and then purposely pick out a song that might be a bit lesser known but every bit as good as anything else out there. Check them out and let us know what you think by leaving a comment or message in chat box, please!

Beirut – “On a Bayonet”
This would, at first, appear to be nothing more than the horn and sax section warming up before “The Shrew”’s terrific Tuba comes in. However, this is a growing, swelling and sweltering collection of trumpets, saxes, trombones and more blowing away towards a fantastic manifestation of sounds. To be succinct, it’s a warm up, sure, but it climaxes and grows into a vicious crescendo that is both stunning and gripping.



The Mars Volta – “Asilos Magdalena”
When Nick or I talk about local music, it’s funny how we don’t mention (and I didn’t check but I’m almost positive they’ve never been brought up before) El Paso’s darlings, The Mars Volta. Two high school friends who grew up being teased ended up making one of the best psychedelic, heavy rock groups of our time and their music is beautifully composed. So much so, that you forget about a gem like this and yet, it always pops up; sung in Spanish with a quiet acoustic guitar and glorious vocals, my favorite line is this chillingly deep one:

“En mi vida, el oscuro me mantiene.
Cuando yo te vi, en la lluvia, me prometistes tu sangre…yo no me quedo”

“Which translates to, “In my life, the darkness will comfort me. When I saw you, in the rain, you promised me your blood…I won’t stay.” Yikes, that’s good.



Interpol – “Direction”
Six Feet Under was a truly great show; it was dynamic, poignant and stirring. But I didn’t hear about this Interpol song from watching the actual show but rather, while over-hearing Arcade Fire’s “Cold Wind” one day. Not on any proper Interpol album, this song expands and grows with the addition of new rhythms and instruments. While at the same time, getting louder, once the climax hits the band is heard singing “Direction,” in repetition, until the decreasing sound dies out. Simply bad-ass. – Bryan