He contradicts himself a lot, beginning to state that while his lyrics may sound isolated in a reflection of their environment, he actually wrote them on a beach in Panama. “On ‘The Rover’ it’s this beautiful anticipation, that’s why Dave kept us off the click for a song like that, because it’s not a mistake… it’s an articulation of the moment.” He looks at his bandmate, jokingly assuring him: “I’m not trivialising it, Daniel, and I’m not trying to speak for you, but I’m empathising with that and the nature of the guitar being able to do that… the whole idea of being off the grid, and you being loose enough.”
“And other things were kept more logical. “Some things would be on a metronome, and some things would depend on the more natural – ‘speeding up and slowing down’ – the more emotional performance,” Fogarino says. “Yeah, it’s like Sam and I are staggering it out a bit.” “Very intentional,” Kessler says, eyes twinkling. They both laugh at the mention of that off-kilter rhythm on “The Rover. “A lot of R&B, Stax or Motown, Bill Withers or older Otis Redding… it’s so beautifully simple, and so complex at the same time, because it’s not about the thing you’re playing but how you’re playing it,” he adds. And there are different opinions on what changed during those periods and how the city changed, the perception of what was gentrified and what was still standing in integrity.” “It’s seemed to follow this cycle since the Sixties, since there were ‘scenes’ coming out of New York: pop music, rock music, the Andy Warhol times merging into early CBGBs, Max’s Kansas City… then coming around most recently to the early 2000s. “It’s pretty ever-changing,” Fogarino says, joining Kessler at the table and pouring a glass of water. Unlike other bands who have migrated to LA or Nashville, Interpol have always seemed at home in New York, but aren’t really sure if there’s anything specific that still “binds” them to that city. It’s human, there’s a personality to it, highlighting our imperfections… but in a good way.” There could be flubs, but if we liked them then we’d keep them in. We had a kinship, Dave included, and it had a good energy. “In the studio we adjusted to that style of recording and moved forward with each song. “It was like having my safety net taken away,” Kessler admits.
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