Interpol

Antics

December 9, 2004

# 9

In my opinion, one of the most influential songs currently being revived in our new millennium of rock and roll is Joy Division’s Disorder. Listen to that song and tell me that tracks such as Doves’ Pounding, Longwave’s Everywhere You Turn, The Stroke’s Last Nite, and even Interpol’s own P.D.A. don’t have more than a little in common with that relic of the past. Although Disorder is nowhere to be heard on their newest release, Antics is proof positive that Interpol’s Joy Division fascination is anything but fading. In one way, that is a good thing since there is much to be learned from Joy Division and their brethren, but in another way, it is also a sign that sometimes it isn’t always best to merely stick with what you know best.

Antics is set up to showcase several pop songs in between its prominent meandering B-sides. Evil, Slow Hands, and C’mere are the best of the singles-like tracks and seem like Interpol’s attempt to break away from the indie world for some radio play. None of them are exceptional, however, even if each one holds its own as fun, albeit brooding, rock and roll statements. As anyone who has listened to Interpol’s first album, Turn on the Bright Lights has come to expect, these songs are loaded with heavy bass, vibrant guitar lines, and the ever present monotone howl of lead singer Paul Banks. But where songs from their former release seemed to shine somewhere up amongst the stars, these songs never quite catch on. They are still pretty good and entertaining, just not exceptional.

The real highlights, however, especially on further listens, are not to be found on the scrubbed up singles, but rather, on the B-side-like standouts Next Exit and Not Even Jail. Both songs give us the elements of Interpol that are the most exciting: unpredictability, catchy, off-kilter lyrics, and stylized rock and roll doom and gloom. These tracks are equally as rewarding as songs from Bright Lights and prove that Interpol is anything but a Joy Division clone, but rather, a unique sound and voice on the indie rock scene that will certainly continue being a force to be reckoned with for years to come.

On the negative side, my biggest problem with Antics as a whole is that it’s too predictable. Where every time I listened to Turn on The Bright Lights I found a new favorite song, with this album, I know exactly where it’s going even before it goes there. The songs here are all well crafted and interesting, for sure, and this album is better than most released this year, but compared to Interpol’s 2002 effort, this is a bit of a let down. Call it a sophomore slump, if you will, and I probably would, but I also think most bands today would be more than happy if this was the weakest album in their catalogue. And that statement, alone, is the greatest testament to the power of Interpol’s music.

Turn on the Bright Lights is easily one of the best releases of the past ten years. In one word, it is flawless. Because of that, it was pretty much impossible for Interpol to top it this time out. Antics has its moments, but never quite reaches the heights of that masterpiece. The best songs far outdo the weaker ones causing them to stick out like chocolate amongst a sea of pizza. Pizza is tasty, for sure, and you’d be hard pressed to find anyone disappointed with such a meal, but I’m afraid once you’ve had a taste of chocolate, nothing is ever quite the same, and pizza is no longer enough to suffice. I look forward to where they go from here.