I wrote some of my favorite music while basking in the sun and surfing
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@fuckyeahinterpolquotes
I wrote some of my favorite music while basking in the sun and surfing
Paul Banks

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Finally, howās the day job? Do you have a date you have to be back in Interpol by? āNo, because like I said I want to give this a good shake. Iām going to make sure I donāt burn myself out, so whether that means the band waits a little bit while I get my shit back together, maybe. I spent a long time promoting the last band record so I think itās normal I would want to give this a good crack. I want this to be a career for me. I want my solo work to be a thing indefinitely, I want to make many records this way so Iām going to do what it takes to establish myself a little bit further on this one. And then whatever, Iāll go when Iām ready. At the same time the band has already kicked around some songs, weāve talked about stuff. I managed to write my whole record on the road with them, so Iām sure I can contribute substantially to them while Iām on the road with this.ā
Very interesting. So maybe a 2013 release isnāt out of the question.
Q: So are the rumours true, you and Julian Plenti have fallen out?
Paul: Yeah [laughs]. Part of the reason I did the EP [Julian Plenti Lives] was to answer the question of what happened to Julian Plenti: he lives! The first record had to be done under an alias for me because I had these old songs kicking around for almost a decade that I'd written and performed as Julian Plenti in the late 90s, early 2000. I just felt compelled to stick to that original vision and I used it as a way to recreate what it would be like to be a debut artist. I was off put by the notion of pushing my solo work at people by capitalising on the notoriety of the band and just marketing my record to Interpol fans. That was something I didn't want to do because I felt they were very different things and I liked the idea of a debut artist putting something out there and people come to it, rather than shoving it down people's throats. Once I'd done that there's now only one song on the new record that dates from that era, I put it on the EP - Summertime Is Coming - but other than they're all new songs and moving forward I didn't feel like sticking with the alias."
In some ways Iām at a point in my life where there is a bit more direct self-reflection. Young Again is me reflecting back and acknowledging the adolescent in me, the age when I formulated all my dreams and goals and Iāve sort of lived that out. I set those ideas in motion between 15 and 20 and I feel like Iāve spent the last 15 years paying tribute to that original conception of what I wanted to do with my life. Now itās almost time where Iāve done that now and I think Iām at the end of the road saying, Oh shit, now itās time to go down a new road, but Iām looking back very fondly at who I was. In that song where I say, jobs are disgraceful thatās not because I would say that today, itās indicative of the attitude of pure rebellion and anarchic energy I had as a teenager. Iām very fondly looking back at that formative time. Itās carried me all this time, but Iām also acknowledging it wonāt carry me further. But on other songs Iām assuming another character.
Paul Banks (via obstaclespecialist)
Iāve never been in the position of begging to a woman
Paul Banks, on the confessional tone of Interpol (via obstaclespecialist)

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The best analogy Iāve had for songwriting is that itās a bit like archeology. Youāll see something sticking out of the sand, and sometimes itās a rock, and other times itās a jawbone. I feel like songs are already there, so you really stumble upon something and you go about excavating it and revealing it. Some melody will come to mind and it could be the feet of the song and then the song would just do the work for you. I think bad bands say, letās write a song that sounds like this or that, but if youāre functioning more with real inspiration the song will tell you what it wants to be. So the question of influence and inspiration is always a little bit tricky because itās much more naive and impulsive and instinctual. On the critical side, of course bands can contextualize things. But the creative process is beyond rationalizing what youāre going for; itās more like what youāre finding in the process.
Paul Banks (via obstaclespecialist)
I donāt even know if that would be legal, apart from being in really bad taste. I would never play an Interpol song without [the rest of the band].
Paul Banks, not playing Interpol songs on his own tour (via obstaclespecialist)
āWith āBright Lights,ā I wanted to sound alienated, to imply tension and desperation, by sinking my vocals into the mix and shouting them. This time, the songs are more expressive and less hopeless. I want the compelling aspect to be the melody, not the drama of the delivery.ā
Paul Banks, talking about Antics (via obstaclespecialist)
Yeah, I suppose I wanted to simplify things this time around, ā¦Julian Plenti was something that I had to do, but once it was done, I didnāt need to hold on to it. I didnāt want the burden of shtick for these songs. If anything, Iām trying to draw attention away from the notion of a persona this time. Iām just making music and hoping to let it speak for itself.
Paul Banks
Paulās the only person in the band who pretty much gets carte blanche to do what he wants.[ā¦] itās because Paulās never come up with something that we havenāt liked
Daniel Kessler, Under the Radar 2004
(via obstaclespecialist)

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Once, Interpolās appeal was all about cool detachment. Banks sang about not being impressed and training himself not to care, while angular guitars hit with pick-axe precision, trying to break down something frozen in him. But on Interpol, his voice is far clearer and warmer ā and in many ways, sadder. āI explored vulnerability for the first time on this record,ā he admits. āIn the past I had more of a chip-on-my-shoulder stance,ā ā which, he says, was a reaction to critics whoāve refused to take the band seriously ā ābut now itās more about my pathetic side.ā Banks broke up with his longtime girlfriend Abbey Drucker while working on the album, and lyrically, heās borrowed from that experience. āThere were moments where I coped with jealousy, or where I learned more about my own insecurities,ā he confesses. āLike, I make fun of my ex-girlfriendās new boyfriend in one song.ā He gives some credit to his voice coach Ron Anderson, whoās worked with everyone from Elvis to Axl Rose, for helping him bring out that pathos, both in his lead vocals, and in the ghostly, barely-audible background vocals that weave through many of Interpolās new songs. āItās almost like a subconscious undercurrent,ā he explains. āIt communicates the way we all have conflicting inner voices.ā
Interpol: The Fame Monster, eMusic.com, Sept 2010
(via obstaclespecialist)
But Iām a man after all and I have desires. Itās not my fault if I donāt feel the emotional connection that the other person feels. Does that mean that I have to be alone forever, until I do feel True Love? No. I have to learn, but so do women. Learn not to expect the impossible. Or to stay away. Or to say ānoā
Paul Banks (via trainingmyselfnottocare)
Interviewer: and i wanted to ask you about this before we left... i think it's awesome.
Carlos: this, what? the uh-
Interviewer: the holster.
Carlos: well thanks, thanks a lot
Interviewer: and i don't know if anyone's ever done that before
Carlos: um, to my knowledge, they haven't. but it wasn't, you know, me trying to be an individual
Paul, Daniel & Sam: *giggles*
Carlos: wasn't me trying to be an innovator, to wear the holster
Daniel: if i get followers, so be it
Carlos: yeah, so be it. exactly. i'm not gonna like stop them.
I hear itās the girth that counts. But āGirth of Loveā didnāt have the same ring to it.
Paul Banks (via obstaclespecialist)
Being in a band that does well is almost like being a girl.
Paul Banks (via obstaclespecialist)

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Weāve encountered a good amount of anti-American sentiment on this tour. Much more than normal. There was a journalist in Stockholm who had interviewed some of us before the show. Afterward, in the dressing room, he commented that he was surprised that we knew anything being that we were Americans. I donāt recall if it was simply implied that Americans were stupid or if he outright said it, but the arrogance of it caught me off guard. I contemplated punching him in the face and throwing him out. If thereās anything I detest, itās jackasses talking shit in our dressing room immediately after a gig. Both Carlos and I told him that he was a jackass. He said that he was just expressing the predominant sentiment in Sweden. I told him to get out. He didnāt think I was serious. I said I was. He got up and tried to shake my hand. I didnāt take it. He said, āBut you know Iām writing a piece about you guys tomorrow.ā What an asshole. It was just the way he said it, unsolicited, with a little weasel smirk. Anyway, we just found out that he did wind up writing a really bad piece about us. I regret not having smacked him.
Paul BanksĀ : Tour diary for SPIN Magazine (via psychedtodie)
TL: Iām going to read you a quote⦠Letās see if you can guess who wrote it: āTo sing you must first open your mouth. You must have a pair of lungs, and a little knowledge of music. It is not necessary to have an accordion, or a guitar. The essential thing is to want to sing. This then is a song. I am singing.ā
PB: Who is it by? A man or a woman?
TL: A man. Itās a novel.
PB: Who?
TL: Henry Miller, Tropic of Cancer.
PB: But he wasnāt a singer!... It reminds me of a chapter in one of his books where heās with a friend who draws for art magazine and theyāve run out of alcohol and he claims that he doesnāt need any alcohol because he can get drunk with water, and he drinks a glass of water and starts acting like a madman. What you just read reminds me of that aspect of his personality, all you really need in life is to let go, thatās what kept him movingā¦