Argumentação 4 - Refutação Da Tese II

Refutar a tese da m
poesia
As letras de Paul Banks
1) Uma construo estilstica
2) Num contexto musical
moderno
Summer Well | Deception on the Fly, by

Megan Wilhoite
Um instrumental contemporneo: atonalidade
sob a aparncia pop
Antes de mais nada, como todas as canes dos
Interpol, a forma de Summer Well desafia
quaisquer associaes pop, em que no
realmente claro que nome dar a cada uma das
seces (estrofe, refro, etc.). Por isso, decidi
chamar-lhes Seco 1, Seco 2 e Its Alright.
Em segundo lugar, esta cano muito
inteligentemente faz-nos sentir que houve uma
mudana de escala entre as seces 1 e 2,
quando na realidade no houve (isto uma coisa
que ouo os Interpol fazerem muito neste
A cano usa todas as notas da escala de L

maior (com a exceo de algumas notas
cromticas passageiras), mas por causa dos
acordes que Interpol escolhe, difcil dizer
exatamente em que escala est escrita a cano.
A Seco 1 usa os acordes de F# menor e Si
menor, o que faz com que a cano parea ser na
escala de Si menor. Depois, na Seco 2, temos
Si menor, L maior, C# menor, R maior, tudo
acordes encontrveis na escal de L maior
(porque o acorde de L maior no pertence
tecnicamente escala de Si menor).
Semelhantemente Seco 2, na Seco 3 temos
Si menor, L maior, D# menor, R maior/Mi e R
maior. Como a linha de baixo circula em torno
de R maior (D#, Mi e R), e sustm R maior
Este o brilhantismo desta cano, que os

Interpol se conseguem soltar da tpica progresso
de acordes do rock (I, IV, V, I, ou, por exemplo, R,
Sol, L, R), libertando a Summer Well da
necessidade de estabelecer uma escala especfica,
sem fazer com que a cano soe estranha ou no
familiar. No tarefa nada fcil!
No final, Summer Well uma cano que flutua
em torno das escalas de Si menor, L maior e R
maior, o que lhe d um som nico que a Fly
Magazine considerou mais pop do que as
restantes melodias do lbum!
_______________________________________________________
Built around a buoyant bassline and jazzy
keyboard line that remains stubbornly atonal,
Summer Well shows off a few new tricks in the
Interpol bag.
The New
(Turn on the Bright Lights, 2002)
I wish I could live free
I hope its not beyond me
Settling down, it takes time
One day well live together
And life will be better
I have it here, yeah, in my
mind
Baby, you know someday
youll slow
And baby, my hearts been
breaking
I gave a lot to you

I take a lot from you too
You slave a lot for me
I cant pretend I need to

defend
some part of me from you
I know Ive spent some
time, oh, lying
defend
time, oh, lying
How am I doing? [spoken]
Youre looking all right

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
ShortList.com: Favourite Song From Your

Own Music?
Paul Banks: I'm gonna guess we're talking
Interpol and not my solo work. So, I'd say
The Newfrom our first album.
Always been one of my favorite songs,
and just represents a real freedom that
existed in our early writing.
It came from a place somewhere between
not knowing what we were doing, and
knowing EXACTLY what we were doing. It's
pure, and I love that track.
The New: Drama e Modulao

Meghann Wilhoite | Music Theory & Interpol
Uma coisa que me parece muito dramtica acerca
da The New a mudana (tambm dita
modulao) da escala de D maior para a de Si
menor a partir de cerca de metade da cano.
Em 2:22, ouvimos o sintetizador repetir
sucessivamente as notas Si e D, mas como o
baixo est a tocar um F natural, estamos ainda
na escala de D maior. Em 2:56, o sintetizador
mantm-se na nota Si, e a harmonia total
predominante um acorde de Si diminuta
(composto pelas notas Si-R-F), que o acorde
construdo sobre a tnica de D maior. O minuto
3:14 traz-nos finalmente escala de Si menor,
Tipicamente, as escalas maiores esto

associadas felicidade, escalas menores
tristeza, enquanto os acordes diminutos so
considerados ominosos. Se aceitarmos estas
associaes:
estrutura da escala = resposta emocional
ento podamos ouvir a letra da primeira metade
da cano, i.e. a estrofe, o pr-refro e o refro
como correspondendo a D maior, onde as
palavras progridem:
- de um tom esperanoso: life will be better
- para um tom contrafeito:I need to defend
medida que nos aproximamos do ominoso
acorde de Si diminuta, em 2:56.
Assim que os instrumentos (de uma maneira

quase agonizante a descida, pelo Daniel, de
meio-tom, de Si para L sustenido, transmite-me
dor) estabeleceram claramente a escala de Si
menor, a voz reentra na cano a 3:45.
A voz de Paul aqui mais aguda, soando quase
estrangulada, e tambm mais longnqua do que
na primeira metade da cano. Ele passou da sua
mente para o mais fsico, e a escala menor
sugere que a semente da dvida e da tristeza,
plantada na letra cantada antes da mudana de
D maior para Si menor, est a florescer aqui.
10 Deep Tracks of the Interpol Discography |
Scott Elingburg
Lights (Interpol, 2010)
All that I see

Show me your ways
Teach me to meet my desires
with some grace
All that I fear

Dont turn away and leave me
to plead in this hole of a place
Cause what if I never break?
Estuary wont you take me

far away, far away
All that I seek

Please police me, I want you to
police me
But keep it clean
How have you been my day

Now lets take them away
Strong as you seem, old as you

behave
You will always obey
All that I feel

Capitol ways
teach me to grieve and conspire
with my age
All that I can see

Domestic spree a seething routine
I could
never navigate
Maybe I like to stray
No heart unseen will be left so
clean, not today
Its like you want it that way
All that I see

Is peaceful eyes drawn away from
me
Drawn away from me
We'd like to take the signs
(That is why I hold you)
And breed silence in disguise
(Thats why I hold you dear)
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
Please police me, I want you

to police me
But keep it clean

Strong as you seem, old as you (That is why I hold you)

behave
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
Leif Erikson (Turn On the Bright Lights, 2002)

The clock is set for nine but you know you're gonna make it
eight
All the people that you've loved they're all bound to leave
some keepsakes
I've been swinging all the time, think it's time I learn your
way
I picture you and me together in the jungle, it will be ok
I'll bring you when my lifeboat sails through the night
That is supposing that you don't sleep tonight
It's like learning a new language
As we catch up on my mime
If you don't bring up those lonely parts
This could be a good time
It's like learning a new language
You come here to me
We'll collect those lonely parts and set them down
You come here to me...
Over My Shoulder (Banks,

2012)
Anywhere (El Pintor

2014)
Over my shoulder theres a heart that

suffers deep
The sudden exposure makes my mind
recall the scene
Over my shoulder theres a lonely
hearted thief
You only know me like the shoreline
knows the sea
We try to invade
Put some of us in each
At least try to hold the
other
In the right light
This skys gonna break
Some of us die heroes
At least theyll never suffer
At least theyll always
a
See the ocean
I could go anywhere
So free in my place in the
sun
I could go anywhere
We raise the stones just like

beginnings
We make our home above the stars
again:
Behold
Over my shoulder theres a man that
doesnt speak
Woe expectations they will only make
you weep
You only know me like the shoreline
knows the sea
You know all about me

Thats whats so
frightening
You know all about me
Seems my moon is
You've lived in many places in the world, and on

tour and otherwise, you've been to many more. As
we're speaking today, you're in Panama. What
draws you there?
Paul Banks: The ocean. It's remote. Everything is
better for me. It's where I'm happiest.
What got you into surfing, and what do you find

relaxing and interesting about it?
Paul Banks: Since I was a kid, I had body surfed.
It's something I got into kind of in high school. On
some sort of big wave beaches I was doing it at
that point where it's a bit of an extreme sport and
it's kind of dangerous. I found a place in Central
America with great waves, Panama. The next step
for me loving music was picking up the guitar, and
the next step for me loving the ocean was in trying
out a surf board. The reason surfers act like and
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
CP: Is there a type of double-meaning

behind the Banks title, given the shaky
financial state of this country and the
people's genuine distrust of banks and
corporations as of late?
Paul Banks: Yeah, I definitely like things
that can be looked at two different ways.
And I like doing things that are a little
obtuse and that you can't necessarily figure
out. I like wordplay (jogo de palavras).
I like the idea very much that the title can
either be a topical plural noun or just my
last name. And I think the artwork kind of
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capital ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

Please police me, I want you
to police me
But keep it clean

Strong as you seem, old as

you behave
All that I feel

Capital ways
with my age
All that I can see

Domestic spree a seething
routine I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
PV: Have you applied any chess strategy to

music?
Paul Banks: Perhaps in the sense that I
think the truly gifted chess players do
think outside of the box. But there is a
box: a fundamental aspect of things you
should and shouldnt do. []
As a younger artist, I sorta felt like
everything should be formless and
shapeless and intuitive. But then I learned
that frameworks can actually enhance the
art. Its a similar lesson I learned when I
was reading sonnets and poetry that was
restricted to form.
Then I read John Donne. Then I read

Shakespeare. And I understood that you
could not possibly encapsulate more
meaning in a smaller space than what
those guys were doing. And it revealed to
me that maybe the limitations of the
poetic structure, in some fucked up way,
actually increased your ability to
communicate. And that maybe by applying
some framework to what Im doing, it will
help.
Theres a reason that a lot of great songs
have verse-chorus, verse-chorus, bridge.
So that contributed to my songwriting,
Songwriters on Process: How do you think

your songwriting process has changed
over the course of your Interpol days?
Paul Banks: I feel like I've gotten stronger.
I look back at some early work and love it,
but I think I was set more on "destroy"
early on. That's a great place to get
motivation from, so I'd just write things
with the intent of destroying meaning,
destroying expectations, destroying sense.
Now I'm much more interested in elegance
and even exploring more conventional
Paul Banks: I was always very

misunderstood and taken as very
pretentious and serious all the time. I
would think, "Do you not see there's a lot
of tongue-in-cheek and humor here?"
[]
Paul Banks: I had this perverse gravitation
towards using a terrible clich sandwiched
in between absurd non-clichs because I
thought it gave the clich a new
resonance.
It kills me when my lyrics are misquoted,
but as long as people are quoting them
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
Tcnicas Estilsticas Habituais

Processos cmicos, disruptivos da continuidade e
unidade do sentido
1) Surrealismo: uso de expresses absurdas ou uso
absurdo de expresses idiomticas (sentido to gasto
que cristalizou)
Ex: keep it clean
Processos unificadores, conferem simetria sinttica e
lexical
2) Paralelismo sinttico: repetio de frases com
variao duma parte
Ex: All that I see / seek / feel / can see
3) Aliterao: repetio dos mesmos sons fonticos
Ex: All I can see / Domestic spree, a seething routine
()
5) Campos semnticos: Polcia& Mar

A - Polcia: introduz temas modernos de domnio e
aprisionamento
Ela to mais poderosa (strong as you seem, old as
you behave) quanto mais dcil (with some grace,
obey, peaceful eyes)
convive paradoxal, tensamente com
B - Mar: introduz a antiga imagem do oceano como
horizonte infinito e liberdade de viagem
ela quem o prende (police me), mas tambm ela
que o leva numa viagem que o liberta (estuary, wont
you take me far away)
Esta tenso caracteriza a experincia amorosa:
Por um lado, ela est-se a ir embora (turn away from
me, drawn away from me) e algo nele no o deixa
prender-se (maybe I like to stray)
Interpol: o monstro da fama |

Melissa Maerz
Em tempos, o apelo de Interpol estava todo
num distanciamento desdenhoso. Banks
cantava sobre no estar impressionado e
treinar-se no no se importar, enquanto
guitarras angulares tocavam com preciso
de picareta, tentando quebrar qualquer
coisa gelada dentro dele.
Mas em Interpol, a sua voz bem mais
ntida e afetuosa - e, em vrias maneiras,
mais triste. Neste disco, pela primeira vez,
explorei a vulnerabilidade, admite. Antes

Melissa Maerz

Melissa Maerz
Banks separou-se da sua namorada

enquanto trabalhava no lbum, e colheu
dessa experincia liricamente. Houve
momentos em que lidei com o cime, ou
aprendi mais sobre as minhas prprias
inseguranas, confessa. Por exemplo,
numa msica gozo com o novo namorado
da minha ex-namorada.
Ele d certo crdito ao professor de voz
Ron Anderson, que trabalhou com toda a
gente, de Elvis a Axl Rose, por o ajudar a
trazer ao de cima essa emoo, tanto na
voz principal como nas fantasmagricas,
quase inaudveis vozes de fundo que se vo



All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean

fantasmagrico
behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
(That is why I hold you) mais alto
Do you feel responsible for helping to create a visual

identity for the band?
David Calderly: Interpol have always had a very strong
sense of their own identity/brand. Over the years my
involvement as their Designer has been to contribute and
articulate ideas within that space.
How does a design come together initially? Do you hear
the music as you go along, or does a visual idea come
first?
David Calderly: Often the band may have a loose subject
or theme and want to see it articulated or explored as a
visual idea. On the previous album, Paul had been reading
about the stones of Puma Punku and the Nazca lines in
Peru, this in turn led to the visual direction for the album
art.
We caught up with David Calderley from Graphic Therapy
for a few words about the project:
David Calderly: I had worked with Interpol on the previous
album Our Love to Admire, so obviously I was thrilled to

first?
art.

first?
art.
Refutar a tese da m
poesia
Estrutura Lgica do
Trabalho
Provar afirmaes sobre
os fins ou intenes de
Paul Banks
A
Se o par de termos stuff e
bluff for considerado uma
rima, ento, porque esta uma
rima pobre, as letras de Paul
Banks sero um caso de m
poesia. Mas este par de termos
no uma rima e sim uma
aliterao. Paul Banks recorre a
inmeras figuras estilsticas de
repetio, construindo as suas
Tese de Unterberger:
Se o par de termos stuff e bluff for
considerado uma rima, ento, porque
esta uma rima pobre, as letras de Paul
Banks sero um caso de m poesia.
O par de termos stuff e bluff uma
rima e uma rima pobre. Para esta dupla
afirmao ser verdadeira preciso que:
1. seja uma rima
2. seja uma rima pobre
Uma das nossas teses possveis:
O par de termos stuff e bluff no
Caminho de prova:
Se Paul Banks usar inmeras figuras
estilsticas de repetio, ento o som
uff poder ser descrito como uma
aliterao, na sequncia do gosto do
autor por repeties sonoras.
1. Provar a presena de inmeras figuras
de estilo de repetio.
2. Provar que tais figuras geram uma
simetria textual.
As letras em si mesmas
1. Para que sejam simtricas:
so construdas com base na repetio com variao.
Ex: Lights, Interpol (2010)
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me

lexical
variao duma parte
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capital ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me

lexical
variao duma parte
()
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me

lexical
variao duma parte
()
3) Jogo de palavras: pr em uso os vrios sentidos que
a palavra pode ter conforme o contexto (jogo entre
igualdade sonora e variedade semntica)
Ex: dont turn away, take me far away, lets keep
them away, drawn away
B
Se sequncias de frases como She
says brief things, her loves a pony,
my loves subliminal (Leif Erikson)
ou My best friend's a butcher, he
has sixteen knives / He carries them
all over the town at least he tries /
Oh look it stopped snowing
(Roland) forem incompreensveis,
ento as letras de Paul Banks sero
um caso de m poesia. Mas estas
sequncias no so
Tese de Unterberger:
As expresses incompreensveis em
causa so dois exemplos de um enorme
conjunto de expresses igualmente
incompreensveis.
Toda a poesia tem de ser compreensvel
para poder ser boa.
As letras de Paul Banks so compostas
de expresses incompreensveis.
Logo, as letras de Paul Banks no podem
ser boas.
Uma das nossas teses possveis:
As expresses em causa no so
Caminho de prova:
Se Paul Banks compuser letras vagas e
evocativas, para que estas contribuam
para o carter atmosfrico da msica,
ento as expresses em causa podero
ser lidas com base nas associaes
semnticas dos seus termos.
1. Provar a presena de campos
semnticos que unificam as letras.
2. Reconstituir o sentido literal de tais
campos semnticos ou identificar as
associaes tpicas desses campos.
3. Reconstituir a histria a partir do tema
central da sua obra e da vida em si
2. Para que contribuam para o

carter atmosfrico da msica:
so vagas e evocativas.
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean


behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
4) Campos semnticos: Polcia& Mar

A - Polcia: introduz temas modernos de domnio e
aprisionamento
Ela to mais poderosa (strong as you seem, old as
you behave) quanto mais dcil (with some grace,
obey, peaceful eyes)
convive paradoxal, tensamente com
B - Mar: introduz a antiga imagem do oceano como
horizonte infinito e liberdade de viagem
ela quem o prende (police me), mas tambm ela
que o leva numa viagem que o liberta (estuary, wont
you take me far away)
Esta tenso caracteriza a experincia amorosa:
Por um lado, ela est-se a ir embora (turn away from
me, drawn away from me) e algo nele no o deixa
prender-se (maybe I like to stray)
As letras no interior da obra

3. Para que a obra seja orgnica:
so apenas parte do seu sentido global, funcionando
complementarmente com:
1) o instrumental do tema
Ex: The New, TOBL (2002)
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight
The New
mind
youll slow
breaking
I gave a lot to you


defend
time, oh, lying
defend
time, oh, lying

tonight

Ex: The New, TOBL (2002) | Ex: Arise, Awake,
Banks (2002)
2) os restantes temas do lbum
Ex: Rest My Chemistry & Lighthouse no lbum
OLTA (2007)

Ex: The New, TOBL (2002) | Ex: Arise, Awake, Banks
(2002)
Ex: Rest My Chemistry & Lighthouse: tema do mal
no lbum OLTA
3) o cinematogrfico
A obra como descrio da vida

4. Para que essa organicidade
exprima a complexidade da vida
(chiaroscuro):
comunicam uma vivncia dramtica cuja dramaticidade
atenuada
1) na prpria letra, por meio de expresses
positivas que criam uma tenso irresolvel
Ex: o verso final em The Lighthouse, OLTA (2002)
2) na prpria letra, por meio do absurdo
(situaes inslitas, expresses ilgicas, uso de
3) no instrumental, por meio de gravao de

vrias pistas de voz
Ex: a afirmao positiva thats why I hold you que
prevalece no final da Lights, uma cano sobre o
desfazer-se de uma relao.
All that I see

Show me your ways
with some grace
All that I fear


far away, far away
All that I seek

police me
But keep it clean

fantasmagrico
behave
All that I feel

Capitol ways
with my age
All that I can see

I could
never navigate
clean, not today
All that I see

me
Drawn away from me
(That is why I hold you) mais alto

vrias pistas de voz
4) no instrumental, por meio de objetos sonoros
Ex: a voz feliz do taxista contrabalana o instrumental
nostlgico de Arise, Awake, Banks (2012).

vrias pistas de voz
5) no instrumental, por meio da mudana de
escala, uso de distoro
Ex: Em The New, a segunda parte do instrumental, ao
ser desagrvel, nega que seja boa a soluo cnica dum
amor no eterno, s para o dia de hoje: Youre looking
alright, I think we should go.

vrias pistas de voz
5) no instrumental, por meio da mudana de
escala, uso de distoro
Ex: Em The New, a segunda parte do instrumental, ao
ser desagrvel, nega que seja boa a soluo cnica dum
amor no eterno, s para o dia de hoje: Youre looking
alright, I think we should go.
6) no visual, por meio de temas inesperados ou
Everything Is Wrong (El

Pintor, 2014)
Truly, truly, truly real.
Enter the override,

how we run the game.
Sleeker and cheaper, the wind changed.
Following deeper, they hear what I say
(now).
Spectral incentives have paved the way.
Everything is wrong, wrong, everything is

wrong.
I think I know why I say what I say.

Inverse achievements, I rue the days.
Am I more soulful
or am I coming down now.
Can we start over as agents of peace?

wrong.
All we have is time but my heart is going
numb (truly, truly)
Its taken a part of both of us (truly, truly,
truly)
and nobody likes to wait. (truly, truly, truly)
Everything is wrong, truly wrong, everything
is wrong.
The Quietus: 'Everything Is Wrong' seems

to come from a kind of older, wiser
person telling someone they can pull
through, looking at despair with a bit of
distance.
Paul Banks: I was aware when I had that
lyric, I was like, "Am I really going to do
this? Am I really going to have a song
called 'Everything Is Wrong'?
But, and I think this has been the case in
our whole catalogue, where I honestly
believe that as an artist, in order to
highlight the positive, you can sort of
So I feel like there's a very positive

gesture or impulse behind doing things
that are a little bit dark or negative.
Not to try and make anybody feel down,
but to try and come up against what
you're saying and rebound.
I mean, I don't agree that everything is
wrong. I can think of a bunch of shit that
isn't wrong. I'm not with you on that.
That's sort of the idea.
And then it's also just the way everybody
feels sometimes.
Oh love, hold on.

Hold on, hold on.
Oh love, hold on.
Hold on, hold on.
We made our home without begging

your pardon.
And we made our home with time alone.
Its taken apart the best of us
but nobody likes to wait.
Everything is wrong, truly wrong,
everything is wrong.
Everything Is Wrong (El

Pintor, 2014)
Truly, truly, truly real.
Enter the override,

how we run the game.
Sleeker and cheaper, the wind changed.
Following deeper, they hear what I say
(now).
Spectral incentives have paved the way.

wrong.
I think I know why I say what I say.

Inverse achievements, I rue the days.
Am I more soulful
Can we start over as agents of peace?

wrong.
All we have is time but my heart is going
numb (truly, truly)
Its taken a part of both of us (truly, truly,
truly)
and nobody likes to wait. (truly, truly, truly)
Everything is wrong, truly wrong, everything
is wrong.
Oh love, hold on.

Hold on, hold on.
Oh love, hold on.
Hold on, hold on.
We made our home without begging

your pardon.
And we made our home with time alone.
Its taken apart the best of us
but nobody likes to wait.
Everything is wrong, truly wrong,
Enter the override,

how we run the
game.
Sleeker and
cheaper,
the wind changed.
Following deeper,
they hear what I
say.
Spectral incentives
have paved the way.
Everything is wrong,
wrong
Its
taken
part of
I guess
weahope,
in
both
time,of us
and
to
whatnobody
is now likes
is
wait.
overcome.
truly wrong,
I think I know why

I say what I say.
Inverse achievements,
I rue the days.
Am I more soulful
Can we start over
as agents of peace?
Everything is wrong, wrong,

All we have is time
but my heart is going numb.
We made our home
without begging your
pardon.
And we made our home
with time alone.
Its taken apart the best
Enter the override,

how we run the
game.
Sleeker and
cheaper,
the wind changed.
Following deeper,
they hear what I
say.
Spectral incentives
have paved the way.
wrong
Its
taken
part of
I guess
weahope,
in
both
time,of us
and
to
whatnobody
is now likes
is
wait.
overcome.
truly wrong,
I think I know why

I say what I say.
I rue the days.
Am I more soulful
Can we start over
as agents of peace?

All we have is time
We made our home
pardon.
with time alone.
Enter the override,

how we run the
game.
Sleeker and
cheaper,
the wind changed.
Following deeper,
they hear what I
say.
Spectral incentives
have paved the way.
wrong
Its
taken
part of
I guess
weahope,
in
both
time,of us
and
to
whatnobody
is now likes
is
wait.
overcome.
truly wrong,
I think I know why

I say what I say.
I rue the days.
Am I more soulful
Can we start over
as agents of peace?

All we have is time
We made our home
pardon.
with time alone.
Enter the override,

how we run the
game.
Sleeker and
cheaper,
the wind changed.
Following deeper,
they hear what I
say.
Spectral incentives
have paved the way.
wrong
Its
taken
part of
I guess
weahope,
in
both
time,of us
and
to
whatnobody
is now likes
is
wait.
overcome.
truly wrong,
I think I know why

I say what I say.
I rue the days.
Am I more soulful
Can we start over
as agents of peace?

All we have is time
We made our home
pardon.
with time alone.
Enter the override,

how we run the
game.
Sleeker and
cheaper,
the wind changed.
Following deeper,
they hear what I
say.
Spectral incentives
have paved the way.
wrong
Its
taken
part of
I guess
weahope,
in
both
time,of us
and
to
whatnobody
is now likes
is
wait.
overcome.
truly wrong,
I think I know why

I say what I say.
I rue the days.
Am I more soulful
Can we start over
as agents of peace?

All we have is time
We made our home
pardon.
with time alone.
Enter the override,

how we run the
game.
Sleeker and
cheaper,
the wind changed.
Following deeper,
they hear what I
say.
Spectral incentives
have paved the way.
wrong
Its taken a part of
I guess we hope, in
both of us
time,
and nobody likes to
what is now is
wait.
overcome.
truly wrong,
I think I know why

I say what I say.
I rue the days.
Am I more soulful
Can we start over
as agents of peace?

All we have is time
We made our home
pardon.
with time alone.
Ancient Ways
Uuuh, fuck the ancient

ways!
They are heretofore show
no claim.
Uuuh, got the time, wont
seek.
They are all still coming to
paint the street. (At the
station)
The city feeds us all like
babes
and weve taken a bow. (At
the station)
Uuuh, shape the fight
through sound,
become dutifully bound to
the ground.
The city needs us and all our

names,
enterprise in her eyes. (At
the station)
But beneath us an empire
grows.
Every stage we align (At the
station)
to be beaten by the weight
of it,
they are to be beaten by the
weight.
Come be, people, and enjoy

our glow,
every change we allow. (At
the station)
The city sees us all like
babes
and weve taken a vow. (At
the station)
Ancient Ways

ways!
no claim.
seek.
station)
babes
the station)
through sound,
the ground.

names,
the station)
grows.
station)
of it,
weight.
our glow,
the station)
babes
the station)
Ancient Ways

ways!
no claim.
seek.
station)
babes
the station)
through sound,
the ground.

names,
the station)
grows.
station)
of it,
weight.
our glow,
the station)
babes
the station)
Ancient Ways

ways!
no claim.
seek.
station)
babes
the station)
through sound,
the ground.

names,
the station)
grows.
station)
of it,
weight.
our glow,
the station)
babes
the station)
Ancient Ways

ways!
no claim.
seek.
station)
babes
the station)
through sound,
the ground.

names,
the station)
grows.
station)
of it,
weight.
our glow,
the station)
babes
the station)
Same Town, New

Story
How many bombs went off

cuz he just had to play his hand.
His lot is a womans duty
and she was always tougher than.

Same town, new story.
She said whos gonna save them
They bridged a fated span.
from you?
He was bound for a glory,
Whos gonna save them from
she found her winning man.
you?
So I bet she stood by him
I aint gonna chase another stake
through it all.
until hes gone.
I bet she stood by him.
So I bet she stood by him to the
She was pounding on the
law.
wall,
I bet she stood by him
she said feels like the
when he was down on his knees.
whole world
She said were still alive.
is up on my shoulders.
We are still alive.
Feels like the whole world
coming down on me.
is up on my shoulders. (bis)
Frightening
Wide Feels
eyed, like
venture
so slowly,
the whole
world
venture
so slowly.
is coming
down on me.
Why I venture so slowly?
Wide eyed, venture so slowly,
Same Town, New

Story


from you?
you?
through it all.
until hes gone.
law.
wall,
whole world
We are still alive.
coming down on me.
Frightening
Wide Feels
eyed, like
venture
so slowly,
the whole
world
venture
so slowly.
is coming
down on me.
Same Town, New

Story


from you?
you?
through it all.
until hes gone.
law.
wall,
whole world
We are still alive.
coming down on me.
Frightening
Wide Feels
eyed, like
venture
so slowly,
the whole
world
venture
so slowly.
is coming
down on me.
Same Town, New

Story


from you?
you?
through it all.
until hes gone.
law.
wall,
whole world
We are still alive.
coming down on me.
Frightening
Wide Feels
eyed, like
venture
so slowly,
the whole
world
venture
so slowly.
is coming
down on me.
Come on, baby, you played me

My Desire
out
You lay me out.

Be my desire, Im a frustrated That looked like your chance to
man.
me.
Summon us for peace, we do
But you played me out
what we can.
Oh, so now I gave you up
Feel my desire, favor the bold. Its time for a change of heart
Some of us fall to the earth,
these others roam, besieged by Be my desire, Im a frustrated

desire.
man.

Come on, baby, you played me these others ran. They flee my
out,
desire.
oh, you play me out.
That looked like your chance to Come on, baby, you played me
me.
out.
But, baby, you played me out. Oh, you played me out,
So I gave you up,
so its time for a change of
its time for a change of heart. heart.
You played me out.

See my desire, no solemn
So I gave you up,

My Desire
out
You lay me out.

man.
me.
what we can.

desire.
man.

out,
desire.
me.
out.
So I gave you up,
You played me out.

So I gave you up,

My Desire
out
You lay me out.

man.
me.
what we can.

desire.
man.

out,
desire.
me.
out.
So I gave you up,
You played me out.

So I gave you up,

My Desire
out
You lay me out.

man.
me.
what we can.

desire.
man.

out,
desire.
me.
out.
So I gave you up,
You played me out.

So I gave you up,

My Desire
out
You lay me out.

man.
me.
what we can.

desire.
man.

out,
desire.
me.
out.
So I gave you up,
You played me out.

So I gave you up,

My Desire
out
You lay me out.

man.
me.
what we can.

desire.
man.

out,
desire.
me.
out.
So I gave you up,
You played me out.

So I gave you up,
Same Town, New

Story


from you?
you?
through it all.
until hes gone.
law.
wall,
whole world
We are still alive.
coming down on me.
Frightening
Wide Feels
eyed, like
venture
so slowly,
the whole
world
venture
so slowly.
is coming
down on me.
Theres someone that Im dying

My Blue Supreme
to be,
cruising in my Blue Supreme.
Fade out,
Someone that Im dying to be
youve already made a scene (cruising in my Blue Supreme)
around me.
someone that Im dying to be
Fade now,
(cruising in my Blue Supreme)
just say it in the way you go by.
Its my own time, its my own
time.
Cruising in my Blue Supreme,
When love comes, honey, take cruising in my Blue Supreme,
it.
Only one in a hundred make it.theres someone that Im dying

Were faking till theres nothing
to be (cruising in my Blue
to fake.
Supreme),
but nothing ever comes for

free
to be,
(cruising in my Blue Supreme).
its cruising in my blue
Im cruising in my Blue
supreme.
Supreme

Babe,
Theres something that Im

My Blue Supreme
to be,
Fade out,
around me.
Fade now,
time.
it.

to fake.
Supreme),

free
to be,
supreme.
Supreme

Babe,

My Blue Supreme
to be,
Fade out,
around me.
Fade now,
time.
it.

to fake.
Supreme),

free
to be,
supreme.
Supreme

Babe,

My Blue Supreme
to be,
Fade out,
around me.
Fade now,
time.
it.

to fake.
Supreme),
but nothing ever comes

for free
to be,
supreme.
Supreme

Babe,
Last Friday,
I seen you in the photo booth.
Tidal Wave
You changed your name,
the screen really takes to you.
Day by day,
Yeah, youre really breaking
we watch the gold bar.
through
Saved by fame,
I see you and youre going far.on some great accolades.
Youre truly at the door

Oh, what a sweet Saturday,
of some great admiration.
and the night is still young for
Oh, what a sweet serenade, love.

and the night is still young. Theres a flood coming soon,
and this rush hits me just like a
Oh, theres a flood coming
soon,
wave, a tidal wave, a tidal
and this rush hits me just liketidal
a
wave, a tidal wave.

soon,
love.
Feel the tug of the moon,
Last Friday,
I seen you in the photo booth.
Tidal Wave
You changed your name,
the screen really takes to you.
Day by day,
Yeah, youre really breaking
we watch the gold bar.
through
Saved by fame,
I see you and youre going far.on some great accolades.
Youre truly at the door

Oh, what a sweet Saturday,
of some great admiration.
Oh, what a sweet serenade, love.

and the night is still young. Theres a flood coming soon,
and this rush hits me just like a
soon,
wave, a tidal wave, a tidal
and this rush hits me just liketidal
a
wave, a tidal wave.

soon,
love.
Feel the tug of the moon,
Breaker 1
(El Pintor, 2014)
Come back, come back, Im the warning
Come back, come back, Breaker One
You seen the day
When I hold you tight
Asleep beside me
There is a slope like an appetite we descend
slowly
And I fear my deep makeup
The ache inside go away
The vacant mind just relay
Some explosion from the bright side
Breaker 1
(El Pintor, 2014)
You seen the day
Asleep beside me
slowly
Breaker 1
(El Pintor, 2014)
You seen the day
Asleep beside me
slowly
Breaker 1
(El Pintor, 2014)
You seen the day
Asleep beside me
slowly
You seen the day

How it happens right
This beast inside me
He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
Babe this week I just
Went through so much
And went through so
much darling
And Ive seen my deep
makeup
The patience to climb all
day
Some remnants of a
mountain
Im inclined
Cuz I need my needs to
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im inclined
Cuz Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
get by
You seen the day

He leads the way
Then hes at my side
We feast till Im
starving
And I feel my deep
makeup
The ache inside go
away
Am I aping some old
holiday
Some remnants of a
wild side
Im
inclined
O
desgaste
do mal interior,
do
pecado
Cuz
Ive seen my
Days begun
Grace become
And went through so
much darling
makeup
day
Some remnants of a
mountain
Im inclined
Cuz
I needdamy
needs
O
desgaste
labuta
parato
edificar
get by a vida
I relied on fewer lies

Twice as Hard
to let you in,
become my lover.
There were days of no surprise So with all of my relations,
on the wing,
one caves in on the other
when nobody cared but you.
Outright we tried to feel a

twice as hard, twice as hard.
salvation.
I give it right back to you,
The proof of it was always you, I give it right back to you,
boo.
twice as hard.
If these times should signify my Oh, those nights of many lives

mistakes,
following beautiful hours!
please give me power.
These are all of my creations,
veering me now towards you
leaving me disavowed

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,
(Breaker 1)
salvation.
The proof of it was always you, twice as hard.
boo.
Oh, those nights of many lives

If these times should signify my following beautiful hours!
mistakes,

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,
(Breaker 1)
salvation.
The proof of it was always you, twice as hard.
boo.

If these times should signify my following beautiful hours!
mistakes,

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,

salvation.
boo.
twice as hard.

mistakes,

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,

salvation.
boo.
twice as hard.

mistakes,
(ARBH, Breaker 1)

twice as hard.
twice as hard.

Twice as Hard
(Anywhere; MBS)
to let you in,

There were days of no surprise become my lover.
on the wing,
So with all of my relations,
salvation.
boo.
twice as hard.
If these times should signify my
mistakes,

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,

salvation.
boo.
twice as hard.

mistakes,
please give me power. (Ancient These are all of my creations,
Ways; EIW)

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,

salvation.
boo.
twice as hard.

mistakes,

twice as hard.
twice as hard.

Twice as Hard
to let you in,
become my lover.
on the wing,

salvation.
boo.
twice as hard.

mistakes,

twice as hard.
twice as hard.
Ex: Breaker 1; Ancient Times
2. Para que contribuam para o

carter atmosfrico da msica:
Ex: My Blue Supreme; My Desire

Banks (2002)
OLTA (2007)
3) o cinematogrfico

Ex: Same Town, New Story; Ancient Ways

3) o cinematogrfico
Ex: ARBH, Everything is Wrong; Twice as Hard

4. Para que a obra, no seu todo
orgnico, exprima a complexidade
da vida (chiaroscuro):
comunicam uma vivncia dramtica cuja
dramaticidade atenuada
Ex: My Desire; Anywhere; Everything is Wrong
3) no instrumental, por meio do falsetto

Ex: My Blue Supreme
Ex: Breaker 1
5) no instrumental, por meio da modulao de
escala ou uso de distoro
Ex: Same Town, New Story (outro)
histrias dissonantes com o sentido da letra
Ex: ARBH; Everything is Wrong; Twice as Hard
A obra como descrio da

modernidade
5. Para que a obra, no seu todo
orgnico, exprima a modernidade:
contribuem para os seguintes traos da msica
contempornea
1) ataque melodia / explorao do ritmo
2) desenvolvimento da sonoridade eletrnica
3) recusa do eu totalitrio
1. Ataque melodia / explorao do

ritmo
Averso ao sentimentalismo comportado pela
exuberncia
das
composies tonais do ultraMsica
Msica Pop do Caracterstica Letras de Paul
romantismo
(Mahler
e Wagner)
Erudita do
sc. XX
s
Banks
sc. XX
Atonalidade
Claude
Debussy
Noise Rock
Sonic Youth
Pouca
amplitude
meldica
Forma
Uso do calo
Agramaticalid
ade
Surrealidade e
cmico
Figuras de
estilo de
repetio
Serialismo
Shonberg
Shoegaze
MBV
Repetio
intensa de
breves
motivos
Minimalismo
Steve Reich
Philip Glass
Post-Rock
Slint
Atonalidade
Distoro
Interpol:
Ancient
Ways
Sncope
Tema
Seco rtmica Agressividade
proeminente
na relao
Entertainment
Weekly
Record
Shopping with
Paul Banks
5 Setembro
2014
2. Desenvolvimento da sonoridade
eletrnica
Explorao da dimenso espacial do som: sons
eletronicamente produzidos com reverberao e
eco (paisagem sonora); sons eletronicamente
gravados
queMsica
evocam
os Caracterstica
espaos de origem.
Msica
Pop do
Letras de Paul
Erudita do
sc. XX
sc. XX
Musique
Concrte
Peter
Schaeffer
Msica
eletrnica
Kraftwerk
Textura
esparsa
Espaamento
entre notas
Sons
eletrnicos
Stockhausen
Post-Punk
Public Image
Interpol
My Desire
Tidal Wave
Banks
Forma
Palavras raras
(opacidade)
Dilogo
gravado
Reverberao
Ausncia de
das notas, eco
articuladores
sintticos
Sintetizadores Campos
Ritmos
semnticos
metronmicos
Drowned In Sound
DiS Meets Interpols Paul Banks
19 Setembro 2014
Blue Supreme is one of our favourite

songs on the new record. This is a bit of a
punt, but is it about a midlife crises?
It could be. Its not me feeling like Im
having one, but I kind of feel like you
could apply that sense of Fuck it. I need
to spread my wings.
I love the word supreme. I like the image
of the American road trip a lot, but also
how that particular phrase can evoke
more of a metaphorical state of mind than
3. Recusa do eu totalitrio
Tentativa de eliminao da figura do compositor
como autor que controla a sua obra e se exprime
emotivamente por meio dela. Espao dado
indeterminao e participao alheia na
composio.
Msica
Msica Pop do Caracterstica Letras de Paul
Erudita do
sc. XX
sc. XX
Banks
Msica
aleatria
John Cage
Noise Rock
Sonic Youth
Improvisao
Forma
Oscilao
pronominal
Minimalismo
Steve Reich
Philip Glass
Post-Rock
Mogwai
Formas no
estruturadas
de tocar o
instrumento
Interpol
Same Town,
New Story
Ausncia de
solos
Contraponto
Tema
Construo de
personagens
Fragmentos
de conversa
A lcoute de lalbum et notamment du morceau Same

Town, New Story on a limpression quInterpol a fait peau
neuve tout en revenant sur les sonorits des dbuts,
peut-on parler dun retour aux sources?
On ne peut pas parler dun retour aux sources
vritablement car jadore tous nos albums prcdents et
ils taient primordiaux dans lhistoire dInterpol. Certes,
artistiquement, tu dois progresser et voir plus loin, sortir
des sentiers battus, je pense que cet album sest fait
dans un tat durgence et que les morceaux venaient
instinctivement.
Sur Anywhere par exemple, javais le couplet et le refrain
et je savais vers quelle direction aller. En revanche, sur le
morceau Same Town, New Story, javais le riff de guitare
seulement, ctait un instrumental la base. Pas de
basse, pas de voix.
Souvent Paul et moi travaillons les parties guitares
spares, cest--dire que jenregistre le matin par
exemple et lui le soir. Quand je suis retourn en studio et

instinctivement.
morceau Same Town, New Story, javais le riff de
guitare seulement, ctait un instrumental la base. Pas
de basse, pas de voix.

instinctivement.

instinctivement.
Northern Transmissions, Northern Transmissions

Interviews Paul Banks (27 Outubro 2012)
NT: Howpersonal is the album, there are a

couple of songs which sound really intimate?
Paul Banks: I dont think its much more
personal then other stuff Ive done. I use the
pronoun I, she, and he pretty much
interchangeably in all my work.
I think there are a coupleof songs that are
particularly personal, like Over My Shoulder
and really mostly Young Again, where thats
definitely me reflecting on me.
A song like Ill Sue You is me projecting my
own thoughts on to a character. The Base is
4. Personalizao da voz
Procura da originalidade e de um estilo nico
que exprima o eu do artista (sobrevivncia do
subjetivismo romntico na msica
contempornea).
Msica Pop do
sc. XX
Caractersticas
Todos
Amplificao permite
voz com inflexes
individuais.
Letras de Paul
Banks
Forma
Agramaticalidade
Palavras raras
Substituio da pauta Oscilao
pronominal
pela gravao: o
Paralelismo
artista parte
integrante da obra de
Tema
arte; temporalidade
Relaes
da obra.
Vida urbana
Colapso entre
Mal
composio e
interpretao: a
Wondering Sound
Interpol: Finding New Life in Loss
15 Setembro 2014
He can be especially tight-lipped when it

comes to talking about his lyrics, so its a
surprise to hear him so willing to open
up about his process. I think I was
trying to carve a niche on the first and
second records, especially on Antics, he
says. Now I kind of feel like I own the
thing I do. How do I want to improve
within that vein that I come from and
how do I explore new things? Album
three was the one where I secondguessed myself the most, album four was
Village Voice
Fall Guide: Interpol Return With Their First
Record in Three Years (But don't look for that
persona-grooming bassist)
1 Setembro 2010
I do get the feeling, frontman Paul

Banks says, that unless you really, really
listen to our music, you probably have the
wrong idea about what kind of person I
am.
What do all those shallow listeners think?
That Im depressive, jaded, cynical,
bitter, and pretty angry a lot of the time.
Ah, yesthat. Im really not this
brooding, sad guy, Banks continues.
Andrew Unterberger
Stylus, 2004
Interpol everyones got an opinion on em,
and here is mine: Good band, tight chemistry
and a fantastic guitar sound. Despite how
everyone says that theyre nothing but a
collection of influences from cooler bands of the
70s and 80s (and technically, they still are)
theyve proven to be one of the most influential
rock bands of the decade, traces of their sound
working into countless other bands (including
breakthroughs like Franz Ferdinand and The
Killers). Sounds good, but theres still a
Andrew Unterberger
Stylus, 2004
Ive grown to love them in their own way, but
god they still have the power to make me
cringe, even after extended time with the
album. Now Im sure Im gonna get a ton of
excuses for thisits part of the Interpol
sound!, come on, who listens to lyrics
anymore?yeah, yeah, yeah, but none of this
changes that these lyrics are bad, bad, bad.
Among the atrocities found among Interpols
debut album Turn on the Bright Lights are dumb
metaphors, forced rhymes, horrible similes and
some of the worst uses of personification youll
Andrew Unterberger
Stylus, 2004
Ive grown to love them in their own way, but
god they still have the power to make me cringe,
even after extended time with the album. Now
Im sure Im gonna get a ton of excuses for
thisits part of the Interpol sound!,
come on, who listens to lyrics
anymore?yeah, yeah, yeah, but none of
this changes that these lyrics are bad, bad,
bad. Among the atrocities found among
Interpols debut album Turn on the Bright Lights
are dumb metaphors, forced rhymes, horrible
similes and some of the worst uses of
Andrew Unterberger
Stylus, 2004
Ive grown to love them in their own way,
but god they still have the power to make
me cringe, even after extended time with the
album. Now Im sure Im gonna get a ton of
excuses for thisits part of the Interpol
sound!, come on, who listens to lyrics
anymore?yeah, yeah, yeah, but none of this
changes that these lyrics are bad, bad, bad.
Among the atrocities found among Interpols
debut album Turn on the Bright Lights are dumb
metaphors, forced rhymes, horrible similes and
some of the worst uses of personification youll
10. "I wish I could eat the salt off your lost faded
lips
Obstacle 1
8. She says brief things, her loves a pony, my
loves subliminal
Leif Erikson
3. "Her stories are boring and stuff / Shes always
calling my bluff
Obstacle 1
2. My best friend's a butcher, he has sixteen
knives / He carries them all over the town at least
he tries / Oh look it stopped snowing
Roland
Queremos explicar a juno das duas

loves subliminal
Leif Erikson
On their own, none of these lyrics would be too terrible
well, of course, except for the pony onebut when
combined, theyre a classic Banks dud. She says brief
thingsok, I guess that could be considered nice. Her
loves a ponyuh, I guess everyone likes ponies. My
loves subliminaloh, OK. That explains everything.

loves subliminal
Leif Erikson
On their own, none of these lyrics would be too
terriblewell, of course, except for the pony one
but when combined, theyre a classic Banks dud. She
says brief thingsok, I guess that could be considered
nice. Her loves a ponyuh, I guess everyone likes
ponies. My loves subliminaloh, OK. That explains
everything.
Unterberger afirma que a metfora pela qual o
amor dela comparado a um pnei terrvel,
um exemplo de m poesia.
verdade?
A questo porqu a palavra pnei.
lips
Obstacle 1
In the first of lyricist Paul Banks many stabs at some
semblance of romanticism, this is among the worst flops
plus, he should be licking the salt off of said lost faded
lips, not eating it. No one eats salt.
lips
Obstacle 1
In the first of lyricist Paul Banks many stabs at some
semblance of romanticism, this is among the worst
flopsplus, he should be licking the salt off of said
lost faded lips, not eating it. No one eats salt.
Unterberger afirma que o uso do verbo eat no
contexto de eat salt agramatical, um exemplo
de m poesia.
verdade?
A questo porqu a palavra eat em vez de
lick.
Qual a inteno de Banks? Que efeito artstico
pretende ele obter?

calling my bluff
Obstacle 1
Obstacle 1 hurts me deeply, because it would be such
a great song without lines like this one. Perhaps the most
obviously forced rhyme in indie rock history, the use of
the and stuff filler phrase still stuns just as much today
as it did two years ago. If it wasnt for the fact that the
shes always calling my bluff line is kind of cool, this
would certainly be the worst line on the album. What
were you thinking, man???

calling my bluff
Obstacle 1
Obstacle 1 hurts me deeply, because it would be such
a great song without lines like this one. Perhaps the most
obviously forced rhyme in indie rock history, the use
of the and stuff filler phrase still stuns just as much
today as it did two years ago. If it wasnt for the fact that
the shes always calling my bluff line is kind of cool,
this would certainly be the worst line on the album. What
were you thinking, man???
Unterberger afirma que a rima stuff/bluff
forada, um exemplo de m poesia. verdade?
A questo porqu uma rima to obviamente
forada?

Roland
The first line to Roland isnt so bad I guesssome silly
lines about a butcher friend of Banks.
But then, for some reason, he gets distracted by the
weather and remarks upon how it has stopped snowing.
Its like Banks was in the studio singing Roland, and
upon reaching the end of the line, glanced out the
window and was so stunned by the fact that it had
stopped snowing (?), that he had to remark upon it in
song, forgetting that the mic was still on.
I can just picture the producer later realizing it was still in
the song and going to cut it out, but Banks interrupting

Roland
The first line to Roland isnt so bad I guesssome silly
lines about a butcher friend of Banks.
But then, for some reason, he gets distracted by the
weather and remarks upon how it has stopped snowing.
Its like Banks was in the studio singing Roland, and
upon reaching the end of the line, glanced out the
window and was so stunned by the fact that it had
stopped snowing (?), that he had to remark upon it in
song, forgetting that the mic was still on.
I can just picture the producer later realizing it was still in
the song and going to cut it out, but Banks interrupting

Roland
A. Unterberger afirma que toda a histria do
amigo carniceiro idiota, um exemplo de m
poesia. verdade?
A questo porqu uma histria idiota?
pretende ele obter?
PARA QUE constri Banks uma histria idiota?
Com que finalidade 1 a 5 se relaciona?
B. Unterberger afirma que a incluso da frase oh
look, it stopped snowing inexplicvel, um
exemplo de m poesia. verdade?
Finalidade 1 | Para que sejam
simtricas:
Ex: Breaker 1; Ancient Times
Finalidade 2 | Para que contribuam

para o carter atmosfrico da
msica:

Finalidade 3 | Para que a obra seja
orgnica:
Banks (2002)
OLTA (2007)

Finalidade 4 | Para que a obra, no
seu todo orgnico, exprima a
complexidade da vida :
comunicam uma vivncia dramtica cuja
dramaticidade atenuada
Ex: My Desire; Anywhere; Everything is Wrong
3) no instrumental, por meio do falsetto

Ex: My Blue Supreme
Ex: Breaker 1
5) no instrumental, por meio da modulao de
escala ou uso de distoro
Ex: Same Town, New Story (outro)
histrias dissonantes com o sentido da letra
Ex: ARBH; Everything is Wrong; Twice as Hard
A obra como descrio da

modernidade
Finalidade 5 | Para que a obra, no
seu todo orgnico, exprima a
modernidade:
contribuem para os seguintes traos da msica
contempornea
1) ataque melodia / explorao do ritmo
2) desenvolvimento da sonoridade eletrnica
3) recusa do eu totalitrio
Introduo
a) Comentar um dos versos criticados por
Unterberguer e questionar (sem responder
contudo) a sua apreciao.
b) Levantar a questo da prpria reao
dele: love them in their own way +
cringe. Porqu a juno, aparentemente
contraditria, destas reaes opostas?
c) Propor explic-la, mostrando no ser
contraditria.
Nota: O verso escolhido dever ser
Desenvolvimento |
Provar cada uma

das seguintes afirmaes por meio de
entrevistas e anlises de msicas (The
New, Summer Well, Lights e do El
Pintor):
1. As letras de Paul Banks so construdas
com base na repetio com variao, para
que sejam simtricas. []
Logo, bluff e suff no m poesia,
mas uma repetio com variao que gera
simetria.
2. As letras de Paul Banks so vagas e
evocativas, para que contribuam para o
3. As letras de Paul Banks so apenas

parte do sentido global da obra,
funcionando complementarmente com, por
exemplo, X (escolher alnea), para que a
obra seja orgnica.
4. As letras de Paul Banks comunicam uma
vivncia dramtica cuja dramaticidade
atenuada, por exemplo, por X (escolher
alnea), para que a obra, no seu todo
orgnico exprima a complexidade da vida.
5. As letras de Paul Banks contribuem para
os traos da msica contempornea, em
que a msica da banda se inclui, para que
Concluso
Porque geram as letras a reao de
cringe?
Porque comungam do trao de
desagradibilidade prprio da
modernidade (tal como provado no ponto
5).
Porque geram as letras a reao love
them in their own way?
Porque so arte, comunicando afetiva e
eficazmente o que h de mais relevante
na experincia humana (como provado
nos pontos 1 a 4).
FLAVORWIRE
10 of Rock n Roll
Most Overrated
Lyricists
By Tom Hawking
October 13, 2011
Unknown Pleasures: Interpol, by Jeff Klingman

Brooklyn Magazine , 2 Setembro 2014
For anyone looking to poke fun at the band, Banks
lyrics are the lowest hanging fruit. Earlier this year,
Buzzfeed published a representative article
spotlighting his most questionable turns of phrase,
titled Proof the Guy From Interpol Only Has a Vague
Familiarity With the English Language.
From the bands beginning, his dour intonation of
linesveering from puzzling surreality to fragmented
conversationhas been a key element setting Interpol
apart from dozens of Anglophilic record geek bands.
Some, like NYCs infamous, The subway she is a
porno, exist in a zone beyond good or bad, having
become absurdly memorable tokens of New York in a
certain era. Some, like You are the only person whos
completely certain theres nothing here to be into,
Banks has heard the jokes, if not the stray

compliments. I dont think Ive ever gotten kudos, he
says. One thing Ive noticed is some lyrics Ive seen
being poked fun at are misquoted, which bums me out.
That really bums me out. There was a quote with, like,
Time is like a broken watch. I said, Im timeless like a
broken watch, which is way, way, way better than
Time is like a broken watch. When people talk shit
about a lyric and get it right, its typically a lyric that
Im like, Naw man, thats a great lyric. But no, I dont
read anything online. I dont read anything in print,
either. It doesnt do a lot for me to read what people
say.
In 2014 though, criticism is persistent in reaching its
targets. I had a really bad moment when I was on
Twitter trying to promote my solo record, and someone
said, like, Oh, this paper got it wrong again. I clicked
it and I saw this headline, What the Fuck Is Wrong
Prefix Magazine
by Sasha Geffen (23 August 2012)
It Is Up To Me Now: The 10 Best Lyrics From
Interpol's 'Turn On The Bright Lights
Interpol's debut LP just turned 10 years old. Here
are its best lyrics.
While Bright Lights's soundscapes were what
broke so much ground in its genre, Paul Banks's
lyrics and the way he delivers them set the band
apart from the masses of sugar-coated, radiofriendly post-punk revival hits. Oblique, surreal,
yet at times unnervingly blunt, the words
scattered across Interpol's debut still ring as
perfect puzzle boxes atop gorgeous cascades of
sound.
10. "My best friend's a butcher. He has sixteen

knives. He carries them all over the town--at
least, he tries. Oh look, it stopped snowing! My
best friend's from Poland and um, he has a
beard. But they caught him with his case in a
public place. That is what we had feared." |
Roland
I don't know that "um" has ever been used
effectively as part of a song lyric, nor do I believe
it ever will again. Roland stands as a frantic little
spot of absurdity in an album that's
predominantly melancholic and for that, we
adore it.
8. "It's in the way that she walks. Her heaven is
never enough. She puts the weights in my heart,
she puts the weights into my little heart." |
6. "I guess you could say I gave you my edge. I

can't pretend I don't need to defend some part of
me from you." | The New
Trading freedom for stability is no easy choice to
make. Even the most successful intimate
relationships come at the price of losing your
"edge," as it were. And yes, there's always that
part of yourself that you feel the need to protect
even from the person who loves you the most.
5. "I had seven faces--thought I knew which one
to wear. I'm sick of spending these lonely nights
training myself not to care. The subway, she is a
porno. Pavements, they are a mess. I know
you've supported me for a long time. Somehow,
I'm not impressed." | NYC
1. "She says it helps with the lights out. Her

rabid glow is like braille to the night. She swears
I'm a slave to the details, but if your life is such a
big joke, why should I care?" | Leif Erikson
This whole song reverberates as one of the
truest takes on a troubled relationship ever
written. It's like learning a new language, it's got
to be held with kid gloves. Even the odder bits braille to the night, her love's a pony - somehow
resonate in the context of the melody. Everything
inside Bright Lights culminates in "Leif Erikson,"
this plea for raw and honest companionship in
the wake of a love that's breaking apart. It hurts.
It hurts so real.

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Summer Well | Deception on the Fly, by

A cano usa todas as notas da escala de L

Este o brilhantismo desta cano, que os

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

I gave a lot to you

I cant pretend I need to

How am I doing? [spoken]

Youre looking all right

ShortList.com: Favourite Song From Your

The New: Drama e Modulao

Tipicamente, as escalas maiores esto

Assim que os instrumentos (de uma maneira

Lights (Interpol, 2010)

All that I see

All that I fear

Estuary wont you take me

All that I seek

How have you been my day

Strong as you seem, old as you

All that I feel

All that I can see

All that I see

Lights (Interpol, 2010)

All that I see

All that I fear

Estuary wont you take me

All that I seek

All that I feel

All that I can see

All that I see

Please police me, I want you

How have you been my day

Strong as you seem, old as you (That is why I hold you)

All that I see

All that I fear

Estuary wont you take me

All that I seek

How have you been my day

Strong as you seem, old as you

All that I feel