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Interpol

I've been dying to use the term "ironic mustache" in a story ever since a coworker introduced me to it last year. It's a slang gem that needs no explanation: You'll know one when you see one.

And thanks to the dapper, Clark Gable-like appearance of bassist Carlos Denglar at Interpol's Oct. 14 Fillmore Auditorium performance, I've finally got the chance. (See the photo below, on the bottom right.) Thank you, Interpol!

Aside from the pleasure found by gazing at the fantastic ironic mustache (God that felt good) sported by Carlos D. (as he's usually called), I thoroughly enjoyed Interpol's set in support of new album Our Love to Admire.

Opening with "Pioneer to the Falls" one of the band's most haunting and beautiful tracks to date Interpol launched into a high-energy, solid performance. Equal homage to past albums Turn on the Bright Lights and Antics accompanied a satisfying dose of the new material.

Interpol's indie rock flair stiff as the pleats in their suit pants sounded sharp as ever on tracks "No I in Threesome" and "The Heinrich Maneuver."

Singer Paul Banks doesn't sing in shouts so much as talk in elongated, melodic words, but his voice remains a defining sound of the post-punk movement.

Opening was The Liars, who just released their self-titled album in August. The experimental noise rock band is a percussive powerhouse, captivating for the dual drum work of Julian Gross joined by play-everything-else Aaron Hemphill. Near unintelligible, garbled vocals and annoying dancing and facial mannerisms from Aussie-born frontman Angus Andrew detract from the show otherwise. A guest lead guitarist (name unknown) stood glued awkwardly to stage left, also contributing little to band presence.

If Gross and Hemphill were to split off and rethink vocals, a new Liars incarnation might have a real chance for breakout.

matthew@csindy.com

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  • Finally, an 'ironic mustache' reference.

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