For my 4th time I enjoyed a magical moment between cold wave music, ecstatic memories and Ian Curtis reincarnation. It’s quite true that not many bands have the caliber and consistency of Interpol. These New Yorkers and their British singer have a whole collection of songs divided into five incredibly classy albums
If Hadreas was the queen of the night, Interpol were the kings, bringing their powerful guitars in full action and having a triumphant night. The crowd was so enthusiastic, they had to come for a second encore, and, toward the end of the show, some puissant girls pushed people to get in the front, and even started a serious brawl just behind me
if you visit the new Interpol website, you will see a picture of the mural that Shepard made in Brooklyn to honor the release of Interpol’s single, off their latest album ‘El Pintor’. And because this album seems to be all about anagram (El Pintor is an anagram of Interpol) the mural features ‘The Very Growing Sin’, an anagram of the single ‘Everything Is Wrong’!
‘Have you seen us play lately? I’m a little more chipper these days. Nowadays we try to write setlists for shows and there are too many songs to choose from, which is a nice problem to have.’ Banks is even described as looking almost happy… I saw them last weekend and they didn’t say much more than ‘Thank you’
Ancient Ways – Interpol – A nice stirring of the pot roiling and reeling sound by a band I have never liked in the slightest but have pulled off a pretty good little ambient rocker – B
I stayed at the main stage to see Future Islands, with its very theatrical frontman Samuel T. Herring doing grand gestures and definitively using his deep cavernous voice, going into
It starts with very-Interpol strident, slightly dissonant guitars and Paul Banks’ slow baritone vocals, then it brings more action, with a growing sound for an empowering and nervous chorus, just like Interpol has done it many times before, but as if the music was getting faster than the vocal delivery.
Sure, there is this video of them in the studio (below), revealing these isolated and haunting guitar notes or piano keys, these milliseconds of songs here and there, these long silences and these guitar riffs at 1:09, so typical-sad-Interpol that you would recognize them in the middle of chaos
