Interpol

[AFX]

Riporto su per dire... quanto mi piace The Other Side of Make Believe. Non vorrei esagerare ma è sicuramente il loro migliore da Our Love to Admire, ma forse anche qualcosa in più. Riprendiamolo perché è un bel colpo di coda

Nel frattempo è uscita una nuova edizione di Antics, per il ventennale. Sembra ieri.

[dissonance]

Band che si ama punto e basta, arrivano al cuore anche quando la stato di forma non è eccelso

[AFX]

Nel frattempo è uscita una nuova edizione di Antics, per il ventennale. Sembra ieri.

Bello il live che accompagna questa riedizione. Mostra un suono molto muscoloso, dato soprattutto da una sezione ritmica agguerrita con Carlos D e Sam Fogarino - quest'ultimo mai così potente su disco altrimenti - che li mostra migliori di quel che pensassi dal vivo.

Su Carlos D https://www.carlosdengler.com/about

[AFX]

Interpol Announce New Album This Mirror Weighs A Ton

This Mirror Weighs A Ton is Interpol's first LP for their new label home Partisan, and they recorded it with Miike Snow frontman Andrew Wyatt at his downtown Manhattan studio. Legendary indie psych-rock mastermind Dave Fridmann mixed the LP.

[AFX]

la scaletta a Bologna

[AFX]

la scaletta a Bologna

[AFX]

Ragazzi ma che bell’album hanno sfoderato gli Interpol
Presto per approfondire ma la prima sensazione è davvero buona e sorprendente

Interpol's new album is devastatingly beautiful. "This Mirror Weighs a Ton" finds the band in a pensive mood. Often the songs start in a more subdued mode before crescendoing into emotionally urgent choruses. The band has moved lightyears away from their early dark post-punk sound but this time around they're exchanging the Joy Division for glimmering, almost otherworldly New Order-esque guitars with a little Eno-esque ambience. God, it's gorgeous. As Paul Banks sings about perception, reflection, and the almost inevitable distortion, these expansive sounds conjure up emotions on a whole new level.

[dissonance]

Chi se l'aspettava? Li porto nel cuore e così sarebbe stato anche in caso di torpore discografico prolungato, invece avevano ancora un commovente colpo in canna.

Dubito si potesse fare più di così: sound svecchiato ma riconoscibile, testi attuali eppure ancora saldamente ancorati alla loro estetica urbana, e corde vocali di Banks che ringraziano l'approccio più malinconico al tutto.

Vorrò riprenderlo con temperature meno sahariane per apprezzarne meglio anche l'immaginario.

[AFX]

da SPIN

During a 2003 concert at Madison Square Garden, R.E.M. frontman Michael Stipe picked up an acoustic guitar and strummed a solo version of Interpol’s “NYC.” With just his voice and rudimentary playing, Stipe stripped back the ascendant indie band’s best-loved song to an impassioned paean to his adopted city. At the time, Interpol was constantly dodging comparisons to Joy Division with their angular guitar stabs and Paul Banks’ distinct baritone that reminded some of Ian Curtis. The band never mentioned R.E.M. as an influence.
Twenty-four years after their debut record Turn on the Bright Lights, Interpol returns with eighth album This Mirror Weighs a Ton. Working this time with producer Andrew Wyatt, Interpol has put out not only their strongest record since sophomore effort Antics (2004), but one that sounds deeply indebted to R.E.M.
Like prior efforts, This Mirror Weighs a Ton may run a bit too long, watering down the strongest material with lesser cuts. Interpol has frequently been accused of spinning its wheels since the acclaim for the band’s first two albums. This Mirror Weighs a Ton is the band’s first record on Partisan and also the first to feature touring bassist Brad Truax as an official member.
On prior efforts, Banks’ voice tended to float over Daniel Kessler’s riffs, but this time he often sounds buried under the jangle, much like Stipe did on tracks from the early I.R.S. records. Check out the moment on “See Out Loud” when Banks wails, “I want it/ I need it” and you can hear the connective tissue with R.E.M. song like “Pilgrimage.”
This Mirror Weighs a Ton can often feel austere, even when the band throws rockers like “See Out Loud” and “Wings On Fire” into the mix. Some of the more interesting tracks come near the end, like the skeletal piano ballad “Enemy” and the lush “Bird and the Serpent,” which feels like both a classic Interpol track and an interesting new direction for the band with its extended outro. The record really should have ended there rather than with monotonous “Sudden.”
Though Wyatt’s presence is subtle, he does add new tricks that help Banks and company push beyond the staid sound that stalled out prior efforts. Cataclysmic drums loops on “Iron City” while “Wake Up” features a sunny riff and dance-punk rhythm, making it perhaps the sunniest thing Interpol has ever recorded.
But don’t expect anything that strays too far from the Interpol sound. Even if Michael Stipe could crystallize their best song, Interpol arrived in the early ‘00s sounding fully formed. They haven’t done much since to outrun or change the sound that made Stipe and a generation of hipsters into fans

[hyperion]

Sono stato in Sicilia per una settimana con amici... ascolto fisso, che sorpresa ragazzi!
Wounded Soldier praticamente in loop.