But instead of snapping under the pressure and resting on their not inconsiderable laurels, Interpol have produced a soaring, inventive album that, while incorporating the deliciously dark atmosphere of ‘Turn On The Bright Lights’, merely uses it as a base to create more ambitious, warmer soundscapes.
Interpol’s debut was all about style. The first time round, we ate up their synths, throbbing base, and haunting vocals in the same way we are this year intrigued by The Killers’ narcotic energy and neon fascination. Style is all well and good for a debut, but second albums require more substance and further expansion. Thankfully, ‘Antics’ delivers in spades. LP opener ‘Next Exit’ sounds the band’s intention to move beyond their dark, prescribed sound, as church-like organs drone, offering up a refreshing feel. Probable single ‘NARC’ is an absolute pleasure of a track that focuses around an insistent Daniel Kessler guitar line and builds into a gorgeous, ebbing wave of noise reminiscent of rarity and fan favourite ‘Specialist’. Bursting with creative confidence, Interpol even experiment with Banks’ voice as a background sample for album closer ‘A Time To Be So Small’.
Indeed, it’s Bank’s voice that is one of the most exciting discoveries of ‘Antics’. His calm, low vocals are the glue that bonds this occasionally disparate band together. Disappointingly though, he hasn’t matched his lyrical advances with that of his songwriting. You’d expect to find better poetry on the essay section of a TOEFL exam than ‘Antics’. So you get the otherwise great track ‘Take You On A Cruise’ opening with the cringe-inducing line: “Time is like a broken watch / I make money like Fred Astaire.” On an album where the vocals have been proudly pushed to the front of the mix, such awkward phrases become more apparent, and thusly more troubling. In context though, the trite lyrics never taint the record’s abundant qualities. For this is an album to be treasured and adored.
Thusly we can only urge you to the bright lights off of Mr. Doherty and his like, pointing them back onto these dark princes, Interpol. We just may have found the album of the year…

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It's their lyrics that really annoy me though. And it's not just them. No-one's writing good lyrics these days. !!! are another big offender. Pah!
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anyway, check the work of conor oberst, guy garvey to name but two, even fucking pete doherty is writing words that hold strong meaning even if his technique's not always great. lyric writing is not dead, far from it.
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I'm not the only one, then. I seem to be one of the sole Interpol fans on this site who hasn't actually heard it yet :)
Still, as has been said above, I'm looking forward to it a bit more now. "...Bright Lights" is a classic and I'd love to see them make a genuinely interesting career of it - something so few bands seem able to do now...
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I think the single is excellent though, maybe a little bit too much 'more of the same' but I'm sure I'll buy the album.
Lyrics aren't everything. Some of the most successful/popular bands ever weren't lyrically great.
Bohemian Rhapsody is a good example, one of the most successful singles ever released, lyrically it's bollocks.
Bands like Interpol are all about the sound and the vibe, lyrics are secondary. Although, if they really are THAT dreadful, this score may be a little generous.
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a time to be so small was on their fukdid ep.
rerererelease.
what soes the O stand for in TEOFL stand for?
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Oh, and there's nothing like sneaking in a cheap dig at Mr Doherty while you're writing a review :)
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The last thing we need is to have an identical album to the first one.
It's more direct in its sound (that's what they wanted) and they have done what all bands should do.
Progress.
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Jet are a fucking terrible band. to call them bad is a slur to bad. Interpol, however, are inventive and talented, two things Jet only have wet dreams about
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Best active lyricist at the moment.
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I love Antics by the way. I don't think it's better than Bright Lights but it's a terrific record and the production is really powerful. It brings to miund what Franz Ferdinand will probably be trying to do in about 5 years.
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and i think the lyrics are fine. any band that can pull off "let's see about this ham" is fine by me.
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I really like it. I am a huge Interpol fan so might be accused of liking anything they do, regardless of its objective qualities.
It's difficult to avoid comparing it to 'Turn On The Bright Lights' and I found myself doing just that. Antics is more of a straightforward rock album in comparison, and has less of the light and shade of TotBL. There isn't really a track that gives you the instant pumelling of Obstacle 1 or PDA, nor is there a slow burning anthem like NYC. But what you get is melodic beauty - this time around, the melodies are less obvious and some of the dark atmosphere has been lifted with some brighter melodic themes which show a different side to Interpol.
These songs take a while to get to grips with but after a few plays and after you realise that this isn't TotBL II and Interpol have tried new approahes to constructing songs and writing melodies. This album has more of a 'grower' feel than TotBL and that excites me as many grower albums stay with you for longer (although in saying that, I often listen to TotBL 2 years after its release!!).
Although this album doesn't have the 'classic' feel of TotBL, it is nevertheless a great record and shows that Interpol certainly have more than one trick up their sleeve.
To my ears, they are simply marvellous.
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would have made a nice e.p.
And The Strokes 'Room On Fire' was pretty well received.
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If the rest of the album can live up to these, we have a worthy successor to TOTBL.
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I agree that if they'd released another TOTBL then people would have complained. I personally wouldn't have done, as long as it was TOTBL with something new to it. The reason the first album was so good was because of the raw jagged riffs and the sudden changes and drop outs. Antics hasn't got that, which is fine, but depends more upon pop hooks. Sadly these hooks don't really hit the mark as some of the accidental moments on TOTBL. The first album had some melodic gems which appeared amongst the frantic playing, but this seems to conciously look for a poppier sound. Like I say, these pop moments don't hit the mark because what was so exciting about Interpol is missing. None of the choruses make you think "Fuck, I have to listen to that again"- which would be ok if it had the sound of TOTBL. It just leaves something lacking.
Admittedly, with a few more listens it might grow on me. As it happens, I'm one of those people who only downloads to try before I buy. I'm glad I didn't buy this one just yet. I'll be waiting for the 2005 HMV Sale I think.
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Why you are so incredibly cynical?
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personally i enjoy interpol's lyrics
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Why do bands release the downloads BEFORE the moneymaking 'official' release? The capitalist in me don't get that.
And yes, of course, JET is shite, shite, shite.
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If great singing is pitch-perfect, technically impeccable diva-warbling, then no, Ian Curtis couldn't sing.
If great singing is all about phonetic power, dramatic use of timbre, inspiring command of your words and pouring every ounce of your soul into every syllable you utter, then Ian Curtis is one of the greatest vocalists in popular music history.
I choose the latter.
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The crux of it all is the Time and Love thing. Paul Banks - lyrically - is obsessed with the words 'love' and 'time'. He machine-guns them out, and when you consider how much, it does make you wonder what you see in him lyrically. And i think lyrics are fucking important - they walk the walk, but they aint talking the talk...:
Love: (On T.O.T.B.L):
Say Hello To The Angels - '…the parts that birds love' /
'…I bury my love around you'
Obstacle 2 - '…love is the kitchen with the culinary eye'/
'…loving is coming away'
Stella - '…Stella I love you, Stella I love you, Stella I love you'.
Leif Erikson - '…love’s a pony, her love's subliminal'.
…'take my love in real small doses' (* this is bloody somewhere on TOTBL – can’t remember where though…help!)
‘Love’: (On Antics):
C’mere – ‘The trouble is that you're in love with someone else’/
‘Two lovers walk on lakeside…’ /
‘I’m in love with something real’.
Slow Hands – ‘The loving that you've wasted /
…‘celebrate the myriad ways that I love you’.
‘Length of Love’ (pretty self explanatory).
‘…Lengths and lengths of love since we started…’
Evil: ‘You’ve come to love me lightly’.
Narc: You show some love and respect/ you get some love and respect’
‘Love can you love me babe, love is this loving babe’.
Take You On A Cruise: ‘…Oh My Love’ (at the vocal loops at the end of the track)…
Public Pervert: ‘There is love to be made’.
A Time To Be So Small: ‘…Love your interest…’
Time: (On T.O.T.B.L):
Obstacle 1 - 'we can cap the old times'/
‘top the old times'
Obstacle 2 - '…it takes a long time just to get this all straight /
'…this is mine every time.' /
'…time that I found you…'
Roland - 'He always took the time/ he always took the time'
The New - 'settling down it takes time'/
'…I know i spent the time lying':
Leif Erikson - 'this could be a good time'…
‘Time’: (Antics)
Narc: ‘…she keeps on waiting for time out there’ /
‘Is time turning around?’.
Public Pervert - 'if time is my vessel, then learning to love might be my way back to sea' (*a Brucie Bonus – Time and Love, hands in hand, same line, same bloody song)…
Take You On A Cruise: 'time is like a broken watch' /
‘…people in time’ (might be ‘pitbull in time’, unsure)…
Not Even Jail: ‘remember take hold of your time dear’./
.. ‘…take time away’.
C’mere: ‘…we make time’.
Length of Love: ‘I’ve had no sense of time, since we started this thing out’.
Now, if you are still reading (and i highly doubt you are), the words 'hands', 'heart', 'lonely', 'life' - are used all the time in both albums; I can't be bothered to list them, but trust me on that one. Maybe you can play the 'heart' game, like i've played with love and time...
For the record, My brother and I fell absolutely head over heels in love with TOTBL when it came out; Interpol and Joy Division invaded the bro's/ my songwriter's bedroom at a good time. Their style and skill definately caught out eye, and we count them amongst our influences musically now.
We still listen obsessively to TOTBL. It's an absolute belter of an album - brilliant songs, great guitars, and with some of the most fantastic bass playing i've ever heard on such a record (Mon the Carlos!). Lyrically, there are a few ditches, but they songs are so strong that you kinda put them down to ironic 'twists', shrugged, and concentrated on the class songs. The fact that the words 'love' and 'time' are mentioned alot doesn't seem signifficant, because they are so cleverly interwoven in strong, well-produced material.
Antics, then. I downloaded it feverishly from a Gay man in Toronto, who was telling me how much it dissapointed him every time he listened to it. I tried to ignore him, and made my Cdr anyway. I've listened to it all the way through about 10/15 times in total now.
I honestly think Antics might be a 'grower' in the truest sense possible - but, simply, the lyrics are pretty MISS and hit. The songs are not as strong as previous songs, so the lyrics really stand out more here. I really appreciate and respect that it isn't TOTBL mk2, but i can't get into the album because of the constant repetiton of certain lyrics, and just the poor lyrics in general. Also, there's no soft ballad (NYC). There's no beautifully poetic, epic urgency (PDA, Obstacle 1, The New etc). There's none of the sexy moments when the instruments all go, and it's left to either a lonely but confident guitar/ bass playing out it's riff with no obstrusion before it bangs back in there again two minutes later; It's a 'rock album', essentially - with 'some' nice moments. Which is a real bloody shame.
For the record, i think 'Slow Hands' is a terrible single. Weak. And because i've heard the album, i really can't see an obvious standout single anyway. This one has a dancy chorus, (a novelty for the 'Pol!) but as a song it's absolutely nothing on anything on TOTBL...
So i think Paul Banks is letting the side down. Rest of the lads are doing what they do very well indeed. He's pretty shite at lyrics, but when he gets it right, he bloody gets it right...
PDA: 'you can not safely say, while i will be away, that you will not consider sadly, how you helped me to stray'...
And i'm spent...
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i'm astonished. i think i'll stick to trying to decode inanity myself.
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Have you got a lot of time on your hands, or what?
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Re: Antics - it's a definite grower, one or two killer songs (Evil / Narc) and lots of slow burners.
Re: review - "...we are this year intrigued by The Killers’ narcotic energy and neon fascination". Are you taking the piss? The Killers are very, very basic, and very dull, standard, uninspired. They suck cock. And not in a good way.
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I like Interpol more now, but i stand (proudly) by this post. He needs to forget about love for a moment and write songs about homosexual camels
Yes.
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It's lacking the creativity & inventivness of TOTBL. That haunting bit at the end of PDA where the drums cut out leaving only the guitars & bass for a couple of bars. There are no touches like that in the new album. (That said I'd still like to see Interpol live if they tour the UK.)
Listen to Uncut instead. Their album 'Those Who Were Hung Hang Here' is infinately better. If you liked 'Turn On the Bright Lights' you'll love Uncut.
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i like it.
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The departure are by far inferior to Interpol and stink of fabrication.
Their songs are poor.
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The songs which really grabbed be at first were Not Even Jail and Public Pervert. Love the crash-bang start to Not Even Jail. Many of the criticisms I argee with - it lacks the light and shade of TOTBL; it is certainbly a far more accessible rockin' album. I don't think that's necessarily a bad thing either.........
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TOTBL is one of my fave records of all time because it has a subtle brilliance to it.
Antics (dont know where it lost it, but it did) simply lost that (