Interpol's Antics (33 1/3 Series)
by Gabriel T. Saxton-Ruiz
Major thanks to Bloomsbury Academic and NetGalley for providing
an advanced copy of one of their latest in the 33 1/3 series Interpol’s
Antics by Gabriel T. Saxton-Ruiz. This book embodies some of the best
elements of the 33 1/3 series in that it is written by a true fan who is not
only passionate and knowledgeable about the band but also has a personal
connection to a member of the band. Furthermore, Saxton-Ruiz provides a
descriptive and detailed analysis of the songs, while also providing some
information about the factors that led to the album’s creation. However, I
found the analysis and discussion of the band’s own personal connection with Latin
America, and specifically with Mexico and Mexico City to be fascinating. I was
not aware of this bond that Interpol has cultivated with Mexico, and with the
larger connection that Latin American countries and indie rock bands. Although
the chapter that details this connection is shorter, it provided an interesting
segue to spark my own interest in exploring this topic further. Saxton-Ruiz
also provides a few books to reference to learn more about this fascinating topic.
While I loved the first Interpol album, Turn on the Bright Lights, I
wasn’t as enamored with this second album, Antics. As Saxton-Ruiz’s book
notes, the NYC music scene and the general rock scene in the late 90s was
somewhat diffuse in that in was searching for an identity in the post-grunge
void that begat bigger MTV rap-rock bands. I was fresh out of college and
recently moved to a major city when Turn on the Bright Lights was
released, and this is an album I identify with that time period in my life
(along with some other bands and albums that were mentioned in the first few
chapters of this book). While bands like the Yeah Yeah Yeahs, …And You Will
Know Us By The Trail of Dead, and The Strokes all brought a level of rock
swagger and energy, Interpol were more subdued and pulled less from classic
rock. I actually appreciated their approach to music that was a little slowed
down or gradually built a steady rhythm that progressed towards a climactic
ending. I loved their use of reverb and delay to create this kind of icier,
spacious sound and how their guitars were not really distorted but rang out.
The drums and bass also steadily bridged the rhythm and melody with a sound
that was clearly distinct, yet harmoniously complemented the individual parts. I
remember eagerly anticipating Antics release, but I also remember downloading
the album from iTunes, and not feeling the same kind of personal connection
with these songs. I enjoyed the songs and felt that they were catchier, almost
poppier, than those from the first album, but for whatever reason, Antics
never really had the same kind of emotional imprint on my life that TOTBL did.
I’m glad that I read this book because Saxton-Ruiz has provided me with an
opportunity to re-evaluate my reactions to this album in his passionate defense
and critical analysis of the songs and videos from this album.
I was amazed at how much Saxton-Ruiz is able to accomplish
in one of these shorter 33 1/3 books that closely examine a specific album. He
provides an interesting overview o the late 90s/early 2000s NYC music scene
that birthed Interpol, among other bands, while also exploring how the band came
together and created their first album. This leads to chapter 2, which details
the creation of Antics following the first album. I appreciated
Saxton-Ruiz’s use of his own interviews, podcasts, and articles to pull
together a thread of how the album came about and what the band’s goals were in
the creation of the album. It was also interesting to learn more about how the
band functioned more democratically, ensuring that all members had a say in their
publicity, the videos, photoshoots, and even song writing. This chapter was
also interesting to learn about the challenges that the bands faced in the studio
and how they worked to create the music and then craft the lyrics to match the
song’s tones. However, the best part of chapter 2 was Saxton-Ruiz’s descriptive
details analyzing the music for each track on Antics. I felt like this,
along with the analysis of Interpol’s cultural significance in Mexico, were the
standout aspects of this book. I loved reading his detailed descriptions of the
music. The writing captures some of the emotional elements of the music, taking
me back to the early/mid 2000s listening to this album as a different version
of myself. Although I won’t be able to recreate that same listening experience,
Saxton-Ruiz’s writing evokes that pleasant feeling of listening to powerful and
compelling music at a critical moment in life. It was a pleasure to read.
Chapter 3 details the accompanying art and videos that went with the album.
Again, I feel like Interpol had a specific vision and aesthetic that
differentiated them from many of the other bands at the time, and I
specifically remember how Antics white and red cover contrasted with the
black and red of TOTBL. I didn’t really watch videos at this point in my
life, so I loved reading about the videos from Antics. Again, seeing how
these videos were attempts to create a kind of surreal narrative or short film which
the music accompanied made me want to watch these videos. Chapter 4 explores
the changing nature of rock around the world and specifically focuses on how
Interpol developed their large fanbase in Mexico and Peru. I found this section
to be fascinating because I’m interested in culture and art, but also because I
was really not aware of their large following in these countries. Saxton-Ruiz,
an academic and professor, brings a detailed level of expertise understanding
and analysis, yet makes his hypothesis and observations accessible by using
personal and popular examples with which readers may be familiar or relate. Furthermore,
he provides some additional texts to consult to further investigate this
phenomenon. However, I hope that he decides to expand on this idea in his own
book. I think he might be able to contribute further to the discussion.
Interpol’s Antics is a great addition to the 33 1/3
collection. I was a little surprised to see this album on here since I thought
that Antics wasn’t as great as TOTBL; however, Saxton-Ruiz makes
a compelling case for why this album is not only a great one, but also why it
is culturally significant in countries like Mexico and Peru. His writing is
descriptive and detailed, while also adding critical analysis and insightful
discussions. Highly recommended!
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