As for the concluding Leif Erikson, it’s more likely the catalyst for the formation of Editors than any influential Joy Division track.
Looking to the main album itself, NYC is a perfect post-9/11 hymn to the band’s hometown, and might be their finest moment to this day.Įlsewhere, PDA chimes and drones gloriously, as does Stella Was a Diver and She Was Always Down. Gavilan (Cubed) is amongst its most interesting curios, threatening as it does to launch into New Order’s Elegia at any moment. Over the course of the additional CD, the extras reveal a band in a state of transformation towards an icier, darker proposition. The demo version of PDA is more lightweight than its album counterpart, but it illustrates how important Paul Banks’ finding of his fullest voice was to Interpol’s aesthetic success – that, and the questionable Nazi-recalling fashion sense of bassist Carlos Dengler. The big draw of this tenth anniversary reissue is the bonus disc of demos and live sessions. And all the time, the music came on like a funereal R.E.M., the tone suggestive of souls having spent time enough with unpleasant encounters. The band assumed the role of observer, viewing its collective life with disconnection when delivering tales of the past.
It gradually revealed layer after layer of wit and guitar angularity – courtesy of the tremendously talented Daniel Kessler – that exceeded initial comparisons to Joy Division and The Psychedelic Furs. Unlike the instant gratification of The Strokes’ Is This It, Interpol’s 2002 debut, Turn On the Bright Lights, became more rewarding the more you listened to it.
And amid the throng, standing out in splendid suits, were Interpol. The Strokes’ breakthrough into the commercial sphere opened doors for further Big Apple acts to follow: LCD Soundsystem and Yeah Yeah Yeahs were great A.R.E. In the early days of the 21st century, New York was well and truly the place.
0 kommentar(er)
