If you want to get straight to the point, skip ahead to "Narc," the third song on this, Interpol's second album. It starts off with this little garage riff (no big news), but then kicks into this little 4/4 bass line (hey, still no big news), but then the drums come in, and it differs a bit from Interpol's smash debut Turn on the Bright Lights, because it isn't going for cocaine dancefloor crossover -- it's going for the quiet, standing-by-the-kitchen-sink drama. Then the warm chorus arrives, with a little bit of finger-snapping soul to it. Climactically, some dub-style strangeness briefly sneaks in toward song's end.

It's a key track on an album that doesn't take any great pains to jump in front of you and make a spectacle of itself -- don't call it a reserved release, though. From the moment the languorous opening track, "Next Exit," steps slowly into the arena, Interpol seems quite aware that this band means a lot to a lot of people. Perhaps that's why the boys back down from making any big-league undergrad declarations (like the Bright Lights classic Subway, she is a porno), instead finding personal revelations much more appropriate (You could be in my life, Paul Banks sings here). But Interpol doesn't back down from grandeur on Antics -- in fact, on tracks like "Not Even Jail," these guys grab it with both hands, lift it above their gloomy heads, and wave it around. We should all salute it.


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