'The New' as work-in-progress

“Could you analyze The New? Their Peel Session is terrific.”
- ant from Spain (see comment on May 8 blog entry)

“I'm with you 100%. Interpol does some excellent extended guitar outros. Can we add New to the list?”
-Mark (comment on April 21 entry)

- Thanks for the suggestion, ant. I had actually never heard Interpol’s 2001 Peel session before, and listening to this recording of “The New” really opened my ears to the song, particularly because of the differences between this version and the TOTBL version. My comparison of the two versions is at the bottom of this post. As can be seen, the majority of the big differences between the versions involve the vocals.

- In the Peel version of “The New,” Banks does a fair amount of “vocalizing,” while in the studio version these vocalizations are completely absent, replaced by new, additional lyrics. Also, there are some lyrics during what I call the “interlude” in the Peel version that I can’t make out (if any of you can, post them here please!), and that are absent in the studio version.

- In general, I hear the Peel version of “The New” as less precise than the studio version. I don’t use “less precise” pejoratively---I am not against “imprecise” music. But it is interesting to hear how Banks, for example, replaces a more free vocalizing (often singing along with the guitar line) with either lyrics or silence in the studio version. In addition, some of the guitar work (e.g. at the moment that I label “transition”) is more precise in the studio version than in the Peel version, though this could simply be attributed to the live vs. studio recording factor.

- By comparing these two versions of “The New,” I get the sense that Interpol in their early days may have toyed with looser musical forms and more improvisatory melodic/harmonic moments in their songs, but eventually turned to the more precise and exact route of songwriting by the time of the recording of TOTBL. By taking this route they make the statement that their songs are finished and complete once they are recorded, unlike in an improvisatory situation where the song can be different every time depending on what the performers come up with during the improvisation.

- I’m itching to do a more thorough analysis of this song, including more on the harmonies, melodies, etc. and how they work together with the lyrics. This kind of analysis takes a considerable amount of work, but I hope I can find the time to do it soon!

Until next time,
Much Love from,
Meg


“The New” Peel session version (2001):
0:00 bass intro, 0:16 guitar scrapes
0:34 verse
1:08 pre-chorus, vocalizing in the background
1:42 chorus
2:15 interlude, unintelligible lyrics in the background
2:50 transition
3:08 guitar solo, vocalizing in the background
3:40 secondary chorus, vocalizing in the background
3:56 bass/guitar solo
4:13 coda
4:46 bass/guitar solo
5:03 more coda
5:35 outro

“The New” TOTBL version (2002):
0:00 guitar scrapes, 0:06 bass intro
0:40 verse
1:14 pre-chorus, lyrics
1:48 chorus
2:22 interlude (no vocals)
2:56 transition
3:14 guitar solo (no vocals)
3:45 secondary chorus, lyrics
4:03 bass/guitar solo
4:20 coda
4:53 bass/guitar solo
5:11 more coda
5:43 outro

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Spotlight: Daniel's technique

“Something I'd noted after finding out that Daniel composes his motifs on a classical acoustic was that he lets single notes 'breathe' on their own in a way that I've never noticed in other modern/pop songs. It's obvious to me that he hears potential in the audio dynamic of plucking the acoustic and seeks to replicate that with such a clean electric sound - but what can you tell me about his penchant for this technique? Single sustained notes seem to be used for such specific effect and form in classical compositions - are there any similarities in Daniel's approach? Might he also be picking up on methods he hears in scores and compositions?”

- I’ve often wondered why Kessler writes such tricky guitar lines, ones that he often has to repeat perfectly and exactly over and over! The delicacy of such a performance situation is certainly reminiscent of classical guitar performance. Unlike at most rock concerts where the guitars are either soloing (in which situation there aren’t necessarily any “wrong” notes) or playing rhythm (which presents its own challenges but is nonetheless a little more forgiving), at a classical guitar concert you hear absolutely every slight stroke and motion the guitarist makes, and there are most certainly wrong notes. It is a very delicate performance situation, and any mistake or accidental knocking against the instrument is extremely evident. This type of performance situation is the one that comes to mind when I see Kessler perform his repeating motifs; he is under the aural spotlight during moments like the beginning of “NARC,” “Pioneer to the Falls,” plus a myriad of other examples.

- Another aspect of Kessler’s compositional technique that I find reminiscent of classical (using the term generally) technique is the polyphonic, or linear, quality that is the result of this type of guitar performance. Instead of the guitars presenting chords + occasional soloing (a very common configuration in rock music), Kessler is moving the focus from homophony to polyphony in many of Interpol’s songs by starting and/or ending with, and/or interpolating (no pun intended) these single line solos (the motifs comprised of single notes mentioned above by the reader), and then often layering them with other lines; the beginning of “Obstacle 1” is a good example of this type of layering. Fairly common in electronic music, the focus on polyphony has recently been experiencing a vogue in indie-rock for a while now; indeed it is often what separates indie-rock from mainstream rock, aurally speaking. Most likely, Kessler’s influence originates from his love of dub reggae, an influence he has mentioned in multiple interviews.

- The reader’s link between classical compositions and Kessler’s approach is an astute one. It is quite possible that his exposure to both classical and film music (the latter of which often draws heavily on classical traditions) has inspired Kessler in some ways to access his own capacity for the construction and deployment of motifs. Supporting this theory is Carlos D’s own self-professed classical influence, as strongly evidenced in Interpol’s music through his keyboard contributions. (Carlos may actually be referring to the classical usage when he frequently refers to Kessler’s song concepts as motifs.)

- Thanks for the insightful query, kind reader! Next up: ant from Spain asks for an analysis of “The New,” specifically the Peel Session version.

Until then,
Much love from,
Meg

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"Rest My Chemistry" video

Aaron Koblin and Blip Boutique’s unofficial (but endorsed) video for “Rest My Chemistry”:



The company’s idea behind the video (as taken from Stereogum's article):

The story we wanted to tell came from the idea of body chemistry, as the song addresses sort of what one does to ones body and stepping away from that for a spell. So since we knew we wanted to do something with mapping data, we started thinking about body systems, and how we could expound on the idea of systems from the smallest to the largest scales. Therefore we decided to have the imagery reflect systems of particles within cells to cellular growth and multiplication to overall body systems, to city grids, to global mapping to solar systems, and back down again.

- This song has been a favorite of mine since first listening to Our Love to Admire; I find the rhythms, in particular the heavy tom hits, extremely compelling. Another facet of the song that has always struck me is the upwards moving string-synth line that repeats throughout the Coda, which starts around 3:54. I hear something of ecstasy in this repeating line, and as it follows lyrics about a young “daisy,” I imagine it as the ecstasy that the protagonist experiences when s/he sees that person.

- I was pleasantly surprised to find that watching this video and reading the concept behind it jived with my hearing. The generative theme that motivates the first half of the video (cells dividing, creating larger and larger structures) lines up in my mind with the creative “urge” I link to the upwards string line and the protagonist and “daisy” relationship.

- Another intuitive move I find in the video is the fact that it goes from small to big back to small again, which I link to the fade-in and fade-out of the song, a technique that Interpol do not often use. Also, I’ve often found Kessler’s repeating guitar melodies (such as the one heard in this song) as “cellular”: tight, compact and repeating identically. On a larger scale, my analysis of the song goes like so:

0:00-0:25 fade-in sans drums
0:25-0:54 rhythmic groove enters strongly, abruptly
0:54-1:19 groove continues, solo repeating guitar line enters
1:19-1:38/1:51 verse 1 + chorus
1:52-2:04 groove + repeating guitar line returns
2:04-2:23/2:36 verse 2 + chorus
2:37-2:49 “so young,” groove interrupted
2:49-3:02 upwards guitar line (foreshadowing of Coda)
3:02-3:20/3:34 verse 3 + chorus
3:34-3:54 “so young” extended, taken over by Coda
3:54-5:01 Coda, groove + repeating guitar line + upwards strings + chorus, fade out

- It doesn’t surprise me that Interpol endorsed this video. I certainly see and hear intuitive links between the visual and the audio.

Next up: a question from a fan regarding a link between Kessler’s guitar technique and classical music!

Until then,
Much love from,
Meg

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Peregrinating 'Perverts', Cycling through 'Jail'

This is a continuation of the thread from the Interpol message board entitled "My favourite seconds of a song"

“Anyone who interrupts the end of Public Pervert (-2.35+) or Not Even Jail (-4.35+) is getting f***ed up.” TSD

- I think it’s worth pointing out that both of the sections mentioned are those in which the vocals (except for a brief return in “Public Pervert”) have left the song around ¾ of the way through. In both cases the guitars take over as the main focus, so that we get extended guitar outros over the last quarter of the song. As I’ve discussed in a previous entry, the form of Interpol’s songs often deviate from the standard verse-chorus-verse-chorus-bridge-chorus (for example) song form.

…the preference of “peregrinated” song forms over cyclical song forms is one of the ways that I hear Interpol’s earlier work as differentiated from Antics, and also one of the ways that I hear OLTA as harkening back to that earlier work. Even in Antics, however, Interpol’s songs stretch the norms of song form.

(from Jan 29, 2008 entry)

I hear these two songs as a combination of the two types of form I mentioned above: cyclical and peregrinated. As you can see in my rough formal divisions below, the songs re-cycle their sections once (cyclical) before proceeding on to the extended outros. The outros also contain formal divisions, but the individual sections do not recycle (peregrinated).

- I can relate to TSD’s sentiment, especially concerning “Public Pervert.” As I’ve mentioned before, my first exposure to Interpol’s music occurred when I was working at Urban Outfitters on 72nd and Broadway here in NYC. The job was exhausting and paid not nearly enough for me to survive on (I’m guessing many of you can relate to this), and added to this was the simple fact that I was not very happy about my life at the time. Urban had Antics in their store-music lineup, and every time they played a song from the album (or sometimes they played whole albums through) life for me got a little better, and I felt oddly empowered in my folding of sweaters (of which I must’ve folded at least two billion in my two months at UO). Something in particular about the sound of the guitars in “Public Pervert” struck me to the core, and though not conscious of the song’s particular formal details at the time, I wonder now if part of the appeal of the song for me was not only the timbre of the guitars, but also the cyclical/peregrinated form combination. Sometimes life is a series of repeated phases, and sometimes we move steadily on down a road without turning back.

My rough formal divisions of:

“Public Pervert”
0:00-00:41 Verse 1
00:42-00:53 interlude 1st part
00:54-1:00 interlude 2nd part
1:01-1:22 Chorus
1:23-1:44 Verse 2
1:45-1:56 interlude 1st part
1:57-2:05 interlude 2nd part
2:06-2:34 Chorus
2:35-2:53 outro 1st part
2:54-3:02 outro 2nd part
3:03-3:11 echo Chorus
3:12-3:50 outro 3rd part
3:51-4:40 outro 4th part

“Not Even Jail”
0:00-0:34 intro
00:34-1:08 Verse 1
1:09-1:16 interlude
1:17-1:47 pre-Chorus
1:48-2:25 Chorus
2:25-2:27 intro
2:48-3:22 Verse 2
3:22-3:29 interlude
3:30-4:00 pre-Chorus
4:01-4:34 Chorus
4:35-4:48 outro 1st part
4:48-5:47 outro 2nd part

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My (belated) review of the Madison Square Garden show

I saw Interpol perform live for the first time last September, at Madison Square Garden. I am not a “big venue” concert-goer; I much prefer the smaller venues, or even the medium-sized ones like the Bowery Ballroom here in NYC. It is in fact a testament to how much I like Interpol’s music that I didn’t think twice about forgoing my no-big-venues rule to be able to hear them live. Nonetheless, as my friend Elizabeth and I made our way to our seats, the outlook seemed bleak---it felt more like we were going to a hockey game than a concert.

- My distaste for MSG (pun intended) aside, as soon as Interpol began to play I was instantly transported, as I often am when experiencing live the music with which I connect. The band played their songs with passion and their stage presence felt completely genuine to me, so much so that my distance from them physically didn’t bother me as much as I thought it would. I was able to lose myself in the sound and step into that idealized space where music seems to permeate solid objects.

- One agonizing moment stands out to me about that performance: the band began their set behind a large sheet through which you could see their outlines, but which covered the entire stage. The effect was great for their opening song, “Pioneer to the Falls,” but as that song ended and they began their next song, the sheet remained where it was. I began to have panicked thoughts like “they’re not going to play the whole show behind that sheet are they??” This idea was torture to me, to be in the same room with them, but blocked from them at the same time! Finally, Paul acknowledged technical difficulties, and my fears were somewhat allayed. When they finally got the sheet down, the crowd (myself included) cheered ecstatically.

- Hearing Interpol live made me conscious of how many of their songs encourage movement; sometimes dancing, sometimes just simply movement. All throughout “Rest My Chemistry,” I found myself wanting to sway and twist with the rising and falling of the bass line, and likewise moving with the syncopated drum hits during the chorus of “Not Even Jail.” I think this aspect of Interpol’s music contributes to the “addictive” quality I addressed in my October 30th, 2007 entry. Their songs often inspire both thought and motion.

- Most of the concert is a blur of ecstatic sound for me, but I do remember that they played quite a few songs, and came back for an encore. I could have stayed there all night, but I certainly didn’t feel cheated when they finally left the stage. I do hope I get to see them again.

Watch next time for more from the “favourite seconds” thread!

Until then,
Much love from,
Meg

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NARC presentation mentioned in Brazilian HowStuffWorks

The editor of the Brazilian HowStuffWorks, Silvio Anaz, contacted me a little while ago to ask if he could reference my work on NARC in his article on Interpol. For you Portuguese-speakers out there, the entire article can be found via the link below. I've included an English translation of the portion that mentions me, with thanks to Cristina in Brazil ("hazey jane" on the Interpol message board) for her hard work - and thanks to Silvio for the mention!

http://lazer.hsw.uol.com.br/banda-interpol.htm

Interpol and songs that revive the post-punk of the 80's

Songs that cause a fusion of reason and sensuality in the listeners, something that many people make an effort to have in their lives. This could be the secret of the success of Interpol's songs with the public, according to the academic work of the theorist Meghann Wilhoite, of the University of Columbia, in New York (U.S.A.).

Many of the lyrics by Paul Banks express a concern with the body, with its needs and physical sensations. Besides this, his verses are open to multiple interpretations that cause intellectual endeavours of listeners because of the multiple meanings and narratives permitted by the poetic construction of words. Something that also contributes to this, according to Wilhoite, is the highly orchestral sound used by the band, as well as the cyclical movement of harmony and melody in songs that can be repeated infinitely.

The process of composition of many of Interpol's songs seems fairly democratic. According to the band's members, a song starts from a progression of chords presented by guitarist Daniel Kessler and undergoes several alterations of direction with the contributions of bass player Carlos D and drummer Sam Fogarino. Alongside this, vocalist Paul Banks works on the lyrics while the rest of the song is in development, and he only finalizes them after the music (harmony, melody and rhythm) of the song has been finished.

In their work, Interpol approaches compositions with persistently repetitive rhythms and a sombre, cold resonance. In the lyrics written by Banks, which are occasionally criticised as banal, the writer [Banks] actually uses several poetic devices as mentioned in Wilhoite's studies, such as metaphors, simile and synecdoche, the latter being a sophisticated mechanism of language that uses a part to describe the whole.

In the song "Narc" from the album "Antics", the metaphor is to do with a type of federal agent from North America whose job is to battle drug trafficking, called a "narc", who is skilled in infiltration using many forms of disguise and specializes in the techniques of manipulating others. In a similar way, the song is about a loving relationship, in which the protagonist in "Narc" appears like a hunter lying in wait, with requests that manipulate his object in an elaborate way, as in this example in the third stanza:

Feast your eyes, I'm the only one
Control me, console me
'Cause that' s just how it should be done
Oh, all your history's like fire from a busted gun
I show some love and respect
Don't wanna get a life of regret

In "No I in Threesome" from the album "Our Love to Admire", Interpol speaks about the love of a three-way that is best shown the first verses:

Through the storms and the light
Baby, you stood by my side
And life is wine
But there are days in this life
When you see the teeth marks of time
Two lovers divide
Sound meets sound, babe
The echoes they surround
And all that we need is one thing
Now what is there it to you allow?
Babe, it's time we give something new a try
Oh, alone we may fight
So, just let us be three

With a tone hardly monosyllabic both in the instruments and voice, there is a resonance of sombreness in the tone of the song, but it is also danceable, as the song brings lyrics that can be interpreted like a suggestion of sex for three (or that the protagonists have a kid?), but wrapped up in a melancholic atmosphere and also a certain despair.

The success of Interpol's songs is actually a proof that the melancholic pop style, expressed in rather depressive, pessimistic lyrics, but with a danceable sound, kept its place in this Renaissance of rock music in the new millennium.

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Unweaving 'Untitled'

“What are your thoughts on Untitled, in general? the progression never alters yet Interpol's signature layering of harmonies is present- I'm just curious as to how an experienced theorist views the song.”
- Kyle

This experienced theorist found herself momentarily stumped when thinking about Kyle’s question! Much like 'Hands Away,' 'Untitled' is a song that I had always listened to passively, not really actively thinking at any moment "what’s happening here?" So, when I did sit down with the song with that question in mind, I was surprised to find that the ideas I came up with weren’t as self-evident as I had anticipated.

- The first 40 seconds of 'Untitled' are played by Daniel alone---two melodic lines in counterpoint, which form the backdrop for the entire song. This was perhaps the most surprising revelation for me, as the texture of the song is so diverse. I never would have expected that the first few notes of the song are played continuously until the very end.

- The texture thickens and thins alternately around this guitar backdrop. As Kyle mentions, this is a technique that Interpol often use: beginning with a simple guitar lick, and then layering around that lick. Thus, in 'Untitled,' the guitar backdrop begins the song, at 0:40 the drums and bass enter, at 1:22 the voice enters, at 2:05 the voice leaves while new guitar lines are added in, at 2:47 the drums and all but one of the new guitar lines leave, and at 3:40 the bass leaves, so that the original guitar lick and the solo 'moaning' guitar line end the song.

- As for the progression of harmonies, in typical Interpol fashion, Daniel provides a lick whose melodic content influences the other musical lines that will eventually coexist with it during the song (this is something I noticed with the opening lick of NARC as well). He begins with C and E-flat, moving the C down to B-flat just before 0:03 so that E-flat and B-flat are played together until 0:05 when E-flat is moved down to D-flat, and then back to E-flat around 0:09. In other words, Daniel introduces the pitches C, B-flat, E-flat and D-flat in his guitar lick, which means that any other notes introduced in the song will most likely fit within a scale that contains these four notes. In terms of new notes (i.e., notes other than the four listed above) the bass introduces A-flat in 0:40, while the voice introduces G in 1:27 (the bass also introduces D-natural, but I hear this as what’s called a non-harmonic tone, or, a tone that lies outside of the predominant scale and that functions as an embellishment).

- So, my guess for the 'key' of this song is A-flat major---feel free to post any alternate hearings you might have here! My final conclusion of A-flat major as the key for this song, like the revelation of the continuous presence of the guitar backdrop mentioned above, also surprises me, as I’d always heard this song as having a more minor sound (in Western parlance sad, dark, etc.).

- Well, those are my general thoughts on 'Untitled.' I hope to be able to write something a little more nuanced and interpretive on this song in the future, using this as the basic groundwork.

Thanks for the question Kyle!

Much love from,
Meg

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