Oh, Interpol-- would that your love of Europe and the bands from that region extended to the way you treated your singles. Why, I remember back in the day when indie bands from the UK would cut more tracks than what would fit on the album, and then release those tracks as the B-sides on various singles. And sometimes, a band would even go back into the studio, cut more tracks, and include those on singles. Alas, what Interpol brings to the making of their albums ends up on the album-- the only non-radio-session, non-remix track on these three EPs is "Song Seven", a track that's been around since before the days of Turn on the Bright Lights. And, "Song Seven", unsurprisingly, is An Interpol Song-- morose, romantic, glistening, propulsive, yadda yadda. Put it on either album, and it blends right in. Put it on an EP pimping an album track, and it begs the question, "Well, gee, it's nice and all, but why can't you guys include more originals on your singles?"
So what you, Interpol Fan, are left with, should you decide to purchase (or download) these EPs, are the one non-album original, six remixes, and three radio session tracks. The session tracks, available on the Evil EP, are from a Zane Lowe BBC Session. Unfortunately, none of Lowe's spastic nic-fitted chatter is included-- instead, it's just the music. Two songs from Antics ("NARC", and, of course, "Evil") and "Leif Erikson" are essayed during this session. "Leif Erikson" (the Radio Session) sounds quite similar to "Leif Erikson" (the Album Track), so kudos to the group for that one. The Two Antics tracks, however, don't come off so well. If anything, they're prime evidence that producer Peter Katis should ask for more points when Interpol slips into Fairfield County to record that difficult third album. The performance of "Evil" in particular sounds rinky-dinky and wan , especially with the superior album version residing on the same disc.
The Slow Hands EP, the weak sister in this bunch, features two remixes of the titular track. Britt Daniel treats the track like a Spoon song, which means that each instrument is actually a Lego block to be added and subtracted from the structure as seen fit. In doing so, Daniel brings out the disco in the track, successfully replacing the original's pensive shuffle with a cocky strut. Dan the Automator, the other remixer, treats "Slow Hands" the way a fraternity treats freshman pledges. He pulls out the original drum track, throws in a turgid approximation of the live drums with a drum machine and a stiff boom-kick, adds some bloops, bleeps, and squiggles (because, hey, it's a remix), and cashes his paycheck. If the indie kids dance to this, then it's clear they haven't learned a damn thing. Hope there's still time to cancel payment.
That leaves the third and final EP, for C'Mere, the most straightforward (and, in my book, the best) track from the album. For this, each member of the band takes on an Antics track and does some rejiggering. Whether you read anything into the descriptions of these remixes and the member's contributions to the band is your own bag. Lead singer Paul Banks eschews the dance aspects of Interpol's sound, turning "NARC" into a spacious and specious solo performance, featuring a chord played ever five seconds, and Banks' voice smothered meekly in the background. Thankfully, the other three 'Polsters don't make the same mistake. Guitarist (and group founder) Daniel Kessler adds excessive pinging, ponging, and warping sounds to the track-- on first blush, it sounds like the work of a guy that just got ahold of the Come To Daddy EP. It's a grower, though, if you can get past the bucephalus bouncing ball in the introduction. Noted lothario Carlos D. takes on "Public Pervert" (ha ha ha), accentuating the sex by adding a slinky slow disco vibe to the track. And, of course, with Carlos D. being the group's bass player, there is plenty of focus on the bass.
I would play the Sounds Like New Order (In a Good Way) card on Carlos' effort, but I'm saving those kudos for "Fog Vs. Mould for the Length of Love". That's Fog as in drummer Samuel Fogarino (the group's secret weapon), and Mould as in Bob Mould, an up-and-coming DC-area DJ best know for the monthly DJ event (Blowoff) he co-hosts. (Mould's also done a little guitar playing for some bands-- I'd drop names, but y'all know how to Google, or browse your iPods.) Fog & Mould stretch the love length out to nearly eight minutes, dropping in and out of the track expertly, with the new polyrhytmic backbeat pushing things forward. And, not unintentionally, the bookending sets of crackling static give the affair a white label mystique. Hola, Hacienda! Just remember, kids-- know your pills, buddy up, and drink plenty of water.
