Behind the Album: The 20th Anniversary of Interpol’s ‘Antics’

Interpol’s second studio album Antics is now available in an expanded edition to celebrate its 20th anniversary. It features the B-side “Direction” and a live album and film recorded in Mexico City in 2005.

The New York group emerged during a wave of early 2000s indie rock bands that included The Strokes, Yeah Yeah Yeahs, and LCD Soundsystem. Each of these bands had a distinct sound, but together they created a cultural shift in rock music away from the nu metal and modern rock groups dominating American radio stations and MTV.

It’s Getting Dark

Using the post-punk blueprint of Joy Division, Interpol’s critically acclaimed debut Turn on the Bright Lights (2002) made many year-end lists of top albums. Meanwhile, singer and guitarist Paul Banks buried his monotonous voice beneath gloomy guitars and staccato rhythms. The darkness defined both the album’s textures and Interpol’s visual aesthetic. It makes the album’s title sound more like a demand.

Against the critical and commercial success of their first album, Interpol faced the challenge of the much-anticipated follow-up. However, Interpol avoided the sophomore decline by not caring about a supposed “slump.” They weren’t concerned with matching the success of Bright Lights, buoyed by the confidence in their new material. After relentlessly touring, a more experienced band had surfaced on Antics.

“Next Exit” begins the album with Banks singing, We ain’t going to the town / We’re going to the city / Gonna track this sh-t around / And make this place a heart to be a part of. Where Banks suppressed his voice on Interpol’s debut, here he’s present, clear, more melodic. Again, confident. The Ian Curtis shadows remain but where Curtis tragically gave in to his demons, Banks is a man determined to continue.

“Evil”

“Evil” is the band’s most recognizable song. Bassist Carlos Dengler drives it with Kim Deal-like low end. The track crescendos with the stabbing guitars of Banks and Daniel Kessler, and the stiff-arm drumming of Sam Fogarino. Some speculated the song is about serial killers. But Banks told The Guardian, “I’d hate to rain on someone’s good time by spoiling the lore or theories about some songs, but generally they are wrong. Everyone thinks ‘Evil’ is about serial killers but it isn’t at all.”

The single gained increased exposure by appearing in Grey’s Anatomy, a show famous for raising the commercial profile of indie bands. But this wasn’t Interpol’s first time promoting music through a popular TV show. “Untitled” from Bright Lights appeared in an episode of Friends. Banks explained the band’s struggle with the perception of an indie rock band licensing music to mainstream TV shows.

“It was something we were mindful of, and we certainly avoided certain commercial licenses because we didn’t want to undermine our legitimacy by being associated with some kind of product. But we were always interested in having our music in cinema or fiction,” he said.

If the idea of “selling out” sounds absurd to younger audiences, this was during a time when indie or indie-minded bands fretted over such things. Think of it as a Gen X vestige of cynical attitudes toward commercialism.

It’s Getting Lighter

The first single “Slow Hands” recalls the brooding mood of Bright Lights. Here, Banks sings about someone who’s done him wrong. Its soft nihilism appears in the submitted incentive for romance and the pole dance of the stars. The singer’s voice sounds emotionless, though not because he doesn’t care. It’s a cinematic twist of what’s left of the character who’s feeling the fresh wounds of a broken heart.

The dark theatrics of Interpol made them interesting on their debut. With Antics, it’s the band’s natural evolution without a calculated attempt at redefinition. It sounds just enough like Interpol not to lose what made them so appealing on Bright Lights.

Interpol always seemed like a band with a purpose. The suits, the angular post-punk. It was as clean and cohesive as their minimalist album artwork. They handled the sophomore pressures not by abandoning the dark for bright lights, but by the confidence of staying right where they’re comfortable. Antics is the space between, where the sky is gray, overcast with just enough industrial gloom to justify the bold suits, rigid guitars, and uniform anguish.  

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