argumentação 4 - refutação da tese ii

8/9/2019 Argumentação 4 - Refutação Da Tese II

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Refutar a tese da mápoesia

As letras de Paul Banks1) Uma construção estilística

2) Num contexto musicalmoderno



2ste * o brilhantismo desta can")o, (ue os$nterpol se conse!uem soltar da t7pica pro!ress)ode acordes do rock +$, $@, @, $, ou, por e6emplo, R*,

Sol, 5á, R*-, libertando a %Summer Well& danecessidade de estabelecer uma escala espec7'ca,sem fa3er com (ue a can")o soe estranha ou n)ofamiliar )o * tarefa nada fácil?

o 'nal, %Summer Well& * uma can")o (ue utuaem torno das escalas de Si menor, 5á maior e R*maior, o (ue lhe dá um som Cnico (ue a Flya!a3ine considerou mais pop do (ue as

restantes melodias do álbum? _______________________________________________________ “Built around a buoyant bassline and jazzykeyboard line that remains stubbornly atonal

,

“Summer Well” shows of a ew new tricks in theInterol ba!"”



$ ish $ could li4e free$ hope it1s not beyond meSettlin! don, it takes time

Ene day e1ll li4e to!etherAnd life ill be better$ ha4e it here, yeah, in mymindBaby, you kno somedayyou1ll sloAnd baby, my heart1s beenbreakin! $ !a4e a lot to you$ take a lot from you too

Gou sla4e a lot for meHuess ou could sa $ a4e

$ can1t pretend $ need todefendsome part of me from you

$ kno $14e spent sometime, oh, lyin!$ can1t pretend $ need todefendsome part of me from you$ kno $14e spent sometime, oh, lyin! Io am $ doin!J KspokenL

Gou1re lookin! all ri!ht

toni!ht$ think e should o

Mhe e+'urn on the Bri!ht .i!hts, 0NN0-



Short5istcomO Fa4ourite Son! From GourEn usicJ

(aul Banks/ $m !onna !uess ere talkin!$nterpol and not my solo ork So, $d say'he 0ew from our 'rst album

Alays been one of my fa4orite son!s,and Qust represents a real freedom thate6isted in our early ritin!

$t came from a place somehere beteennot knoin! hat e ere doin!, andknoin! 2A9M5G hat e ere doin! $ts

pure, and $ lo4e that track



Mhe eO Drama e odula")oMeghann Wilhoite | Music Theory & Interpol

ma coisa (ue me parece muito dramática acercada %Mhe e& * a mudan"a +tamb*m ditamodula12o- da escala de D< maior para a de Simenor a partir de cerca de metade da can")o

2m 0O00, ou4imos o sinteti3ador repetirsucessi4amente as notas Si e D<, mas como obai6o está a tocar um Fá natural, estamos aindana escala de D< maior 2m 0OTU, o sinteti3adormant*m.se na nota Si, e a harmonia totalpredominante * um acorde de Si diminuta+composto pelas notas Si.R*.Fá-, (ue * o acordeconstru7do sobre a t<nica de D< maior E minuto

;O/V tra3.nos 'nalmente : escala de Si menor,



Mipicamente, as escalas maiores est)oassociadas : felicidade, escalas menores :triste3a, en(uanto os acordes diminutos s)o

considerados ominosos Se aceitarmos estasassocia"#esO

%estrutura da escala& X %resposta emocional&

ent)o pod7amos ou4ir a letra da primeira metadeda can")o, ie a estrofe, o pr*.refr)o e o refr)ocomo correspondendo a D< maior, onde aspala4ras pro!ridemO

. de um tom esperan"osoO %life ill be better&

. para um tom contrafeitoO%$ need to defend&

: medida (ue nos apro6imamos do ominosoacorde de Si diminuta em 0OTU



Assim (ue os instrumentos +de uma maneira(uase a!oni3ante a descida, pelo Daniel, demeio.tom, de Si para 5á sustenido, transmite.me

dor- estabeleceram claramente a escala de Simenor, a 4o3 reentra na can")o a ;OVT

A 4o3 de Paul * a(ui mais a!uda, soando (uase

estran!ulada, e tamb*m mais lon!7n(ua do (uena primeira metade da can")o 2le passou da sua%mente& para o mais f7sico, e a escala menorsu!ere (ue a semente da dC4ida e da triste3a,plantada na letra cantada antes da mudan"a de

D< maior para Si menor, está a orescer a(ui

/N Deep Mracks of the $nterpol Disco!raphy |

Scott 2lin!bur!



5i!hts +Interol , 0N/N-



All that $ seeSho me your aysMeach me to meet my desiresith some !race All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ

2stuary on1t you take mefar aay, far aay All that $ seek Please police me, $ ant you topolice me

But keep it clean Io ha4e you been my dayo let1s take them aay Stron! as you seem, old as you

beha4e Gou ill alays obey

All that $ feel9apitol aysteach me to !rie4e and conspireith my a!e All that $ can seeDomestic spree a seethin! routine$ couldne4er na4i!ateaybe $ like to stray

o heart unseen ill be left soclean, not today$t1s like you ant it that ay All that $ see

$s peaceful eyes dran aay frommeDran aay from me

Wed like to take the si!ns*'hat is why I hold you-

And breed silence in dis!uise*'hat6s why I hold you dear-




2stuary on1t you take mefar aay, far aay All that $ seek

Please police me, $ ant youto police me


beha4e








All that $ seeSho me your aysMeach me to meet my desiresith some !race All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er break J











%5eif 2rikson& +'urn 7n the Bri!ht .i!hts, 0NN0-

'he clock is set or nine but you know you8re !onna make itei!ht

9ll the eole that you84e lo4ed they8re all bound to lea4esome keesakesI84e been swin!in! all the time, think it8s time I learn yourway I icture you and me to!ether in the jun!le, it will be ok

I8ll brin! you when my lieboat sails throu!h the ni!ht 'hat is suosin! that you don8t slee toni!ht

It8s like learnin! a new lan!ua!e 9s we catch u on my mime

I you don8t brin! u those lonely arts'his could be a !ood timeIt8s like learnin! a new lan!ua!e:ou come here to meWe8ll collect those lonely arts and set them down

:ou come here to me"""



%E4er y Shoulder& +Banks,0N/0-

74er my shoulder there6s a heart thatsufers dee'he sudden e;osure makes my mindrecall the scene74er my shoulder there6s a lonelyhearted thie :ou only know me like the shoreline knows the sea

We raise the stones just likebe!innin!sWe make our home abo4e the starsa!ain/

Behold

74er my shoulder there6s a man thatdoesn6t seak Woe e;ectations they will only makeyou wee

:ou only know me like the shoreline knows the sea

%Anyhere& +#l (into0N/V-

We try to in4ade(ut some o us in each

9t least try to hold theother In the ri!ht li!ht 'his sky6s !onna break Some o us die heroes 9t least they6ll ne4er sufe 9t least they6ll alwaysaSee the oceanI could !o anywhereSo ree in my lace in the

sunI could !o anywhere

:ou know all about me'hat6s what6s sori!htenin!

:ou know all about meSeems my moon is

G li d i l i th ld d



Gou4e li4ed in many places in the orld, and ontour and otherise, you4e been to many more Asere speakin! today, youre in Panama Whatdras you thereJ(aul Banks/ Mhe ocean $ts remote 24erythin! isbetter for me $ts here $m happiest What !ot you into sur'n!, and hat do you 'nd

rela6in! and interestin! about itJ(aul Banks/ Since $ as a kid, $ had body surfed$ts somethin! $ !ot into kind of in hi!h school Ensome sort of bi! a4e beaches $ as doin! it atthat point here its a bit of an e6treme sport andits kind of dan!erous $ found a place in 9entralAmerica ith !reat a4es, Panama Mhe ne6t stepfor me lo4in! music as pickin! up the !uitar, andthe ne6t step for me lo4in! the ocean as in tryin!

out a surf board Mhe reason surfers act like and



9P $ th t f d bl i



9PO $s there a type of double.meanin!behind the Banks title, !i4en the shaky'nancial state of this country and the

peoples !enuine distrust of banks andcorporations as of lateJ

(aul Banks/ Geah, $ de'nitely like thin!s

that can be looked at to diYerent ays

And $ like doin! thin!s that are a littleobtuse and that you cant necessarily '!ureout $ like ordplay *jo!o de ala4ras-

$ like the idea 4ery much that the title can

either be a topical plural noun or Qust mylast name And $ think the artork kind of



All that $ seeSho me your aysMeach me to meet my desiresith some !race

All that $ f earDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ

2stuary on1t you take mefar aay, far aay All that $ seek Please police me, $ ant you to

police meBut k eep it clean Io ha4e you been my dayo let1s take them aay

Stron! as you seem, old as youbeha4e

All that $ f eel9apital aysteach me to !rie4e and conspireith my a!e

All that $ can seeDomestic spree a seethin! routine$ couldne4er na4i!ateaybe $ like to stray

o heart unseen ill be left soclean, not today$t1s like you ant it that ay All that $ see$s peaceful eyes dran aay frommeDran aay from me

Wed like to take the si!ns

*'hat is why I hold you-And breed silence in dis!uise




All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ

2stuary on1t you take mefar aay, far aay All that $ seek Please police me, $ ant youto police meBut k eep it clean Io ha4e you been my dayo let1s take them aay

Stron! as you seem, old asyou beha4e

All that $ feel9apital aysteach me to !rie4e and conspireith my a!e All that $ can seeDomestic spree a seethin! routine $ couldne4er na4i!ateaybe $ like to stray



Wed like to take the si!ns

*'hat is why I hold you-And breed silence in dis!uise



All that $ seeSho me your aysMeach me to meet my desiresith some !race All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ 2stuary on1t you take mefar aay, far aay All that $ seek Please police me, $ ant you topolice me


















P@ I li d h t t t



P@O Ia4e you applied any chess strate!y tomusicJ(aul Banks/ Perhaps in the sense that $

think the truly !ifted chess players dothink outside of the bo6 But there is abo6O a fundamental aspect of thin!s youshould and shouldn1t do KZL

As a youn!er artist, $ sorta felt likee4erythin! should be formless andshapeless and intuiti4e But then $ learnedthat frameorks can actually enhance theart $t1s a similar lesson $ learned hen $as readin! sonnets and poetry that as

restricted to form

Mh $ d \ h D Mh $ d



Mhen $ read \ohn Donne Mhen $ readShakespeare And $ understood that youcould not possibly encapsulate more

meanin! in a smaller space than hatthose !uys ere doin! And it re4ealed tome that maybe the limitations of thepoetic structure, in some fucked up ay,

actually increased your ability tocommunicate And that maybe by applyin!some frameork to hat $1m doin!, it illhelp

Mhere1s a reason that a lot of !reat son!sha4e 4erse.chorus, 4erse.chorus, brid!e

So that contributed to my son!ritin!,

S it P I d thi k



Son!riters on ProcessO Io do you thinkyour son!ritin! process has chan!edo4er the course of your $nterpol daysJ

(aul Banks/ $ feel like $4e !otten stron!er

$ look back at some early ork and lo4e it,

but $ think $ as set more on ]destroy]early on Mhats a !reat place to !etmoti4ation from, so $d Qust rite thin!sith the intent of destroyin! meanin!,destroyin! e6pectations, destroyin! sense

o $m much more interested in ele!ance

and e4en e6plorin! more con4entional

( l B k $ l



(aul BanksO $ as alays 4erymisunderstood and taken as 4erypretentious and serious all the time $

ould think, ]Do you not see theres a lotof ton!ue.in.cheek and humor hereJ]KZL

(aul BanksO $ had this per4erse !ra4itationtoards usin! a terrible clich* sandichedin beteen absurd non.clich*s because $thou!ht it !a4e the clich* a neresonance

$t kills me hen my lyrics are mis(uoted,

but as lon! as people are (uotin! them

All th t $ All th t $ f l











All th t $ All th t $ f l




All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ 2stuary on1t you take mefar aay, far aay All that $ seek Please police me, $ ant you topolice me



All that $ feel9apitol aysteach me to !rie4e and conspireith my a!e






M*cnicas 2stil7sticas Iabituais




Processos c<micos, disrupti4os da continuidade eunidade do sentido/- SurrealismoO uso de e6press#es absurdas ou usoabsurdo de e6press#es idiomáticas +sentido t)o !asto(ue cristali3ou-26O %keep it clean&

Processos uni'cadores, conferem simetria sintática ele6ical0- Paralelismo sintáticoO repeti")o de frases com4aria")o duma parte

26O All that $ see = seek = feel = can see;- Alitera")oO repeti")o dos mesmos sons fon*ticos26O %All $ can see = Domestic spree, a seethin! routine+Z-&



$nterpolO o monstro da fama |



$nterpolO o monstro da fama |elissa aer3

2m tempos, o apelo de $nterpol esta4a todonum distanciamento desdenhoso Bankscanta4a sobre n)o estar impressionado etreinar.se no n)o se importar, en(uanto!uitarras an!ulares toca4am com precis)ode picareta, tentando (uebrar (ual(uercoisa !elada dentro dele

as em Interol , a sua 4o3 * bem maisn7tida e afetuosa . e, em 4árias maneiras,mais triste %este disco, pela primeira 4e3,

e6plorei a 4ulnerabilidade,& admite %Antes








B k d d



Banks separou.se da sua namoradaen(uanto trabalha4a no álbum, e colheudessa e6peri>ncia liricamente %Iou4e

momentos em (ue lidei com o ciCme, ouaprendi mais sobre as minhas pr<priasinse!uran"as,& confessa %Por e6emplo,numa mCsica !o3o com o no4o namoradoda minha e6.namorada&

2le dá certo cr*dito ao professor de 4o3

Ron Anderson, (ue trabalhou com toda a!ente, de 2l4is a A6l Rose, por o aQudar atra3er ao de cima essa emo")o, tanto na4o3 principal como nas fantasma!<ricas,

(uase inaud74eis 4o3es de fundo (ue se 4)o

B k d d








Banks separo se da s a namorada








Banks separou se da sua namorada








All that $ see All that $ feel



Sho me your aysMeach me to meet my desiresith some !race

All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ 2stuary on1t you take me

far aay, far aay All that $ seek Please police me, $ ant you topolice meBut keep it clean

Io ha4e you been my dayo let1s take them aay *'hat is why I hold you-fantasmagóricoStron! as you seem, old as you

beha4e

9apitol aysteach me to !rie4e and conspireith my a!e


o heart unseen ill be left soclean, not today$t1s like you ant it that ay All that $ see$s peaceful eyes dran aay from

meDran aay from me

Wed like to take the si!ns*'hat is why I hold you- mais altoAnd breed silence in dis!uise

* 'hat6s why I hold you dear-




Do you feel responsible for helpin! to create a 4isual



Do you feel responsible for helpin! to create a 4isualidentity for the bandJ&a4id <alderly/ $nterpol ha4e alays had a 4ery stron!sense of their on identity=brand E4er the years my

in4ol4ement as their Desi!ner has been to contribute andarticulate ideas ithin that space

Io does a desi!n come to!ether initiallyJ Do you hearthe music as you !o alon!, or does a 4isual idea come

'rstJ&a4id <alderly/ Eften the band may ha4e a loose subQector theme and ant to see it articulated or e6plored as a4isual idea En the pre4ious album, Paul had been readin!about the stones of Puma Punku and the a3ca lines inPeru, this in turn led to the 4isual direction for the albumart&

We cau!ht up ith Da4id 9alderley from Hraphic Mherapyfor a fe ords about the proQectO&a4id <alderly/ $ had orked ith $nterpol on the pre4ious

album Eur 5o4e to Admire1, so ob4iously $ as thrilled to




Refutar a tese da má

poesia2strutura 5<!ica do

Mrabalho(ro4ar a3rma1=es sobre

os 3ns ou inten1=es de(aul Banks

A



A

Se o par de termos %stuY& e%bluY& for considerado umarima, ent)o, por(ue esta * uma

rima pobre, as letras de PaulBanks ser)o um caso de mápoesia as este par de termos

n)o * uma rima e sim umaalitera")o Paul Banks recorre ainCmeras '!uras estil7sticas de

re eti )o, construindo as suas

Mese de nterber!erO



Mese de nterber!erOSe o par de termos %stuY& e %bluY& forconsiderado uma rima, ent)o, por(ue

esta * uma rima pobre, as letras de PaulBanks ser)o um caso de má poesia

E par de termos %stuY& e %bluY& * uma

rima e * uma rima pobre Para esta duplaa'rma")o ser 4erdadeira * preciso (ueO

/ seQa uma rima0 seQa uma rima pobre

ma das nossas teses poss74eisO

E par de termos %stuY& e %bluY& n)o *

9aminho de pro4aO



9aminho de pro4aO

Se Paul Banks usar inCmeras '!uras

estil7sticas de repeti")o, ent)o o som%uY& poderá ser descrito como umaalitera")o, na se(u>ncia do !osto doautor por repeti"#es sonoras

/ Pro4ar a presen"a de inCmeras '!urasde estilo de repeti")o

0 Pro4ar (ue tais '!uras !eram umasimetria te6tual

As letras em si mesmas




/ Para (ue seQam sim*tricasO

As letras de Paul Bankssão construídas com base na repetição com ariação!

"x# $%ights&' Interpol (21)






far aay, far aay All that $ seek Please police me, $ ant you topolice meBut keep it clean Io ha4e you been my dayo let1s take them aay Stron! as you seem, old as you











Processos uni'cadores, conferem simetria sintática ele6ical

/- Paralelismo sintáticoO repeti")o de frases com4aria")o duma parte26O All that $ see = seek = feel = can see

All that $ see All that $ f eel



Sho me your aysMeach me to meet my desiresith some !race All that $ f earDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ

2stuary on1t you take mefar aay, far aay All that $ seek Please police me, $ ant you topolice meBut k eep it clean Io ha4e you been my dayo let1s take them aay

Stron! as you seem, old as youbeha4e

9apital aysteach me to !rie4e and conspireith my a!e All that $ can seeDomestic spree a seethin! routine$ couldne4er na4i!ateaybe $ like to stray



And breed silence in dis!uise






0- Alitera")oO repeti")o dos mesmos sons fon*ticos26O %All $ can see = Domestic spree, a seethin! routine+Z-&






0- Alitera")oO repeti")o dos mesmos sons fon*ticos26O %All $ can see = Domestic spree, a seethin! routine+Z-&

;- \o!o de pala4rasO p^r em uso os 4ários sentidos (ue

a pala4ra pode ter conforme o conte6to +Qo!o entrei!ualdade sonora e 4ariedade sem_ntica-26O %don1t turn aay&, %take me far aay&, %let1s keepthem aay&, %dran aay&

B



B

Se se(u>ncias de frases como “Shesays brie thin!s, her lo4e6s a ony,my lo4e6s subliminal” +5eif 2rikson-ou “)y best riend8s a butcher, hehas si;teen kni4es > ?e carries themall o4er the town at least he tries >7h look it stoed snowin!”

+Roland- forem incompreens74eis,ent)o as letras de Paul Banks ser)oum caso de má poesia as estas

se(u>ncias n)o s)o

Mese de nterber!erO



!As e6press#es incompreens74eis emcausa s)o dois e6emplos de um enorme

conQunto de e6press#es i!ualmenteincompreens74eis

Moda a poesia tem de ser compreens74el

para poder ser boaAs letras de Paul Banks s)o compostasde e6press#es incompreens74eis5o!o, as letras de Paul Banks n)o podemser boas

ma das nossas teses poss74eisO

As e6press#es em causa n)o s)o

9aminho de pro4aO



9aminho de pro4aOSe Paul Banks compuser letras 4a!as ee4ocati4as, para (ue estas contribuam

para o caráter atmosf*rico da mCsica,ent)o as e6press#es em causa poder)oser lidas com base nas associa"#essem_nticas dos seus termos

/ Pro4ar a presen"a de campossem_nticos (ue uni'cam as letras

0 Reconstituir o sentido literal de taiscampos sem_nticos ou identi'car asassocia"#es t7picas desses campos; Reconstituir a hist<ria a partir do tema

central da sua obra e da 4ida em si








0 Para (ue contribuam para ocaráter atmosf*rico da mCsicaO

As letras de Paul Bankssão agas e eocatias!


All that $ seeSh

All that $ feel9 it l




All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er break J 2stuary on1t you take me

far aay, far aay All that $ seek Please police me, $ ant you topolice meBut keep it clean Io ha4e you been my dayo let1s take them aay Stron! as you seem, old as youbeha4e Gou ill alays obey




Wed like to take the si!ns*'hat is why I hold you-And breed silence in dis!uise*'hat6s why I hold you dear-

All that $ seeSh

All that $ feel9 it l





far aay, far aay All that $ seek Please police me, $ ant you topolice meBut keep it clean Io ha4e you been my dayo let1s take them aay Stron! as you seem, old as youbeha4e Gou ill alays obey




Wed like to take the si!ns*'hat is why I hold you-And breed silence in dis!uise*'hat6s why I hold you dear-

V- 9ampos sem_nticosO Pol7cia` ar



A . Pol7ciaO introdu3 temas modernos de dom7nio eaprisionamento

2la * t)o mais poderosa +%stron! as you seem, old asyou beha4e&- (uanto mais d<cil +%ith some !race&,%obey&, %peaceful eyes&-

con4i4e parado6al, tensamente com

B . arO introdu3 a anti!a ima!em do oceano comohori3onte in'nito e liberdade de 4ia!em ela (uem o prende +%police me&-, mas tamb*m * ela(ue o le4a numa 4ia!em (ue o liberta +%estuary, on1tyou take me far aay&-

2sta tens)o caracteri3a a e6peri>ncia amorosaOPor um lado, ela está.se a ir embora +%turn aay fromme&, %dran aay from me&- e al!o nele n)o o dei6a

prender.se +%maybe $ like to stray&-

As letras no interior da obra




; Para (ue a obra seQa or!_nicaO

As letras de Paul Bankssão apenas parte do seu sentido global' *uncionandocomplementarmente com#

1) o instrumental do tema"x# $+he Ne,&' T!" (22)

Mhe e



$ ish $ could li4e free$ hope it1s not beyond meSettlin! don, it takes timeEne day e1ll li4e to!ether

And life ill be better$ ha4e it here, yeah, in mymindBaby, you kno somedayyou1ll slo

And baby, my heart1s beenbreakin! $ !a4e a lot to you$ take a lot from you too


$ can1t pretend $ need todefendsome part of me from you$ kno $14e spent some

time, oh, lyin!$ can1t pretend $ need todefendsome part of me from you$ kno $14e spent some

time, oh, lyin! Io am $ doin!J KspokenL




Mhe e













Mhe e






1) o instrumental do tema"x# $+he Ne,&' T!" (22) | "x# $-rise' -,a.e&'/an.s (22) 2) os restantes temas do 0lbum"x# $est M 3hemistr& 4 $%ighthouse& no 0lbum5%+- (26)



;- no instrumental, por meio de !ra4a")o de



4árias pistas de 4o3"x# a a8rmação positia $that?s ,h @ hold ou& Aue

prealece no 8nal da $%ights&' uma canção sobre odes*aBerCse de uma relação!

All that $ seeSho me your ays

h d i

All that $ feel9apitol ays

h i d i



Meach me to meet my desiresith some !race All that $ fearDon1t turn aay and lea4e meto plead in this hole of a place9ause hat if $ ne4er breakJ 2stuary on1t you take me

far aay, far aay All that $ seek Please police me, $ ant you topolice meBut keep it clean

Io ha4e you been my dayo let1s take them aay *'hat is why I hold you-fantasmagóricoStron! as you seem, old as you

beha4e

teach me to !rie4e and conspireith my a!e All that $ can seeDomestic spree a seethin! routine$ couldne4er na4i!ateaybe $ like to stray

o heart unseen ill be left soclean, not today$t1s like you ant it that ay All that $ see$s peaceful eyes dran aay from

meDran aay from me

Wed like to take the si!ns*'hat is why I hold you- mais altoAnd breed silence in dis!uise

* 'hat6s why I hold you dear-






V- no instrumental, por meio de obQetos sonoros"x# a oB *eliB do taxista contrabalança o instrumental

nost0lgico de $-rise' -,a.e&' !an%s (212)!








T- no instrumental, por meio da mudan"a deescala, uso de distor")o

"x# "m $+he Ne,&' a segunda parte do instrumental' aoser desagr0el' nega Aue se=a boa a solução cínica dumamor não eterno' sD para o dia de ho=e# $Eou?re loo.ingalright' @ thin. ,e should go&!








T- no instrumental, por meio da mudan"a deescala, uso de distor")o

"x# "m $+he Ne,&' a segunda parte do instrumental' aoser desagr0el' nega Aue se=a boa a solução cínica dumamor não eterno' sD para o dia de ho=e# $Eou?re loo.ingalright' @ thin. ,e should go&!

U no 4isual or meio de temas ines erados ou

24erythin! $s Wron! +#l



24erythin! $s Wron! +#l(intor , 0N/V- Mruly, truly, truly real 2nter the o4erride,

ho e run the !ameSleeker and cheaper, the ind chan!edFolloin! deeper, they hear hat $ say+now-Spectral incenti4es ha4e pa4ed the ay 24erythin! is ron!, ron!, e4erythin! is

ron!

$ think $ kno hy $ say hat $ say



$n4erse achie4ements, $ rue the daysAm $ more soulful

or am $ comin! don no9an e start o4er as a!ents of peaceJ 24erythin! is ron!, ron!, e4erythin! isron!All e ha4e is time but my heart is !oin!numb +truly , truly -

$t1s taken a part of both of us +truly , truly ,truly -and nobody likes to ait +truly , truly , truly 24erythin! is ron!, truly ron!, e4erythin

is ron!

Mhe uietusO 24erythin! $s Wron! seems



to come from a kind of older, iserperson tellin! someone they can pull

throu!h, lookin! at despair ith a bit ofdistance

Paul BanksO $ as aare hen $ had thatlyric, $ as like, ]Am $ really !oin! to dothisJ Am $ really !oin! to ha4e a son!called 24erythin! $s Wron!J%

But, and $ think this has been the case inour hole catalo!ue, here $ honestlybelie4e that as an artist, in order to

hi!hli!ht the positi4e, you can sort of

So $ feel like theres a 4ery positi4e



!esture or impulse behind doin! thin!sthat are a little bit dark or ne!ati4e

ot to try and make anybody feel don,but to try and come up a!ainst hatyoure sayin! and rebound$ mean, $ dont a!ree that e4erythin! isron! $ can think of a bunch of shit thatisnt ron! $m not ith you on that

Mhats sort of the ideaAnd then its also Qust the ay e4erybodyfeels sometimes

Eh lo4e, hold on



Iold on, hold onEh lo4e, hold on

Iold on, hold on We made our home ithout be!!in!your pardonAnd e made our home ith time alone$t1s taken apart the best of usbut nobody likes to ait

24erythin! is ron!, truly ron!,e4erythin! is ron!

24erythin! $s Wron! +#l



24erythin! $s Wron! +#l(intor , 0N/V- Mruly, truly, truly real 2nter the o4erride,

ho e run the !ameSleeker and cheaper, the ind chan!edFolloin! deeper, they hear hat $ say+now-

Spectral incenti4es ha4e pa4ed the ay 24erythin! is ron!, ron!, e4erythin! isron!

$ think $ kno hy $ say hat $ say



$n4erse achie4ements, $ rue the daysAm $ more soulful

or am $ comin! don no9an e start o4er as a!ents of peaceJ 24erythin! is ron!, ron!, e4erythin! isron!All e ha4e is time but my heart is !oin!numb +truly , truly -

$t1s taken a part of both of us +truly , truly ,truly -and nobody likes to ait +truly , truly , truly 24erythin! is ron!, truly ron!, e4erythin

is ron!

Eh lo4e, hold on



Iold on, hold onEh lo4e, hold on

Iold on, hold on We made our home ithout be!!in!your pardonAnd e made our home ith time alone$t1s taken apart the best of usbut nobody likes to ait

24erythin! is ron!, truly ron!,e4erythin! is ron!

2nter the o4erride,ho e run the

$ think $ kno hy$ say hat $ say



ho e run the!ameSleeker and

cheaper,the ind chan!edFolloin! deeper,they hear hat $saySpectral incenti4esha4e pa4ed the ay 24erythin! is ron!,ron!e4erythin! is ron!

$ !uess e hope, intime,hat is no iso4ercome

$ say hat $ say$n4erse achie4ements,$ rue the days

Am $ more soulfulor am $ comin! don no9an e start o4eras a!ents of peaceJ 24erythin! is ron!, ron!,e4erythin! is ron!All e ha4e is timebut my heart is !oin! numb

$t1s taken a part ofboth of usand nobody likes toait24erythin! is ron!,

truly ron!,

We made our homeithout be!!in! yourpardonAnd e made our homeith time alone

$t1s taken apart the best











truly ron!,







Ancient WaysMhe city needs us and all ournames,

t i i h +9t



uuh, fuck the ancientays?

Mhey are heretofore shono claimuuh, !ot the time, on1tseekMhey are all still comin! to

paint the street + 9t thestation-

Mhe city feeds us all likebabesand e14e taken a bo + 9tthe station-

uuh, shape the '!htthrou!h sound,become dutifully bound to

the !round

enterprise in her eyes + 9tthe station-But beneath us an empire

!ros24ery sta!e e ali!n + 9t thestation-to be beaten by the ei!htof it,

they are to be beaten by theei!ht 9ome be, people, and enQoyour !lo,

e4ery chan!e e allo + 9tthe station-Mhe city sees us all likebabesand e14e taken a 4o + 9tthe station-


t i i h +9t








the !round



they are to be beaten by theei!ht

9ome be, people, and enQoyour !lo,





t i i h +9t








the !round






Ancient WaysMhe city needs us and all ournames,enterprise in her eyes +9t








the !round






Same Mon, eStory

Io many bombs ent oY cu3 he Qust had to play his handIis lot is a oman1s duty



y Same ton, ne story

Mhey brid!ed a fated spanIe as bound for a !lory,she found her innin! manSo $ bet she stood by himthrou!h it all$ bet she stood by himShe as poundin! on theall,she said %feels like thehole orldis up on my shoulders

Feels like the hole orldcomin! don on me&@ri!htenin!

Iis lot is a oman1s dutyand she as alays tou!her thanShe said %ho1s !onna sa4e them

from youJWho1s !onna sa4e them fromyouJ$ ain1t !onna chase another stakeuntil he1s !one&

So $ bet she stood by him to thela$ bet she stood by himhen he as don on his kneesShe said %e1re still ali4e

We are still ali4eFeels like the hole orldis up on my shoulders +bis-Feels like the hole orldis comin! don on me

Wide eyed, 4enture so sloly,4enture so slolyWhy $ 4enture so slolyJ

Wide eyed, 4enture so sloly,

Same Mon, eStory













Same Mon, eStory







Iis lot is a oman s dutyand she as alays tou!her thanShe said %ho1s !onna sa4e them








y Desire 9ome on, baby, you played moutGou lay me out



Be my desire, $1m a frustratedman

Summon us for peace, e dohat e canFeel my desire, fa4or the boldSome of us fall to the earth,these others roam, besie!ed by

desire 9ome on, baby, you played meout,oh, you play me outMhat looked like your chance tomeBut, baby, you played me outSo $ !a4e you up,it1s time for a chan!e of heart

See my desire, no solemn

Gou lay me outMhat looked like your chance tme

But you played me outEh, so no $ !a4e you up$t1s time for a chan!e of heart Be my desire, $1m a frustrated

manSome of us fall to the earth,these others ran Mhey ee mdesire

9ome on, baby, you played moutEh, you played me out,so it1s time for a chan!e ofheart

Gou played me outSo $ a4e ou u ,











Gou played me outSo $ a4e ou u ,












Gou played me out

So $ a4e ou u ,












Gou played me out

So $ a4e ou u ,

Same Mon, eStory




Same ton, ne story



Iis lot is a oman s dutyand she as alays tou!her thanShe said %ho1s !onna sa4e them






y Blue Supreme Mhere1s someone that $1m dyin!to be,cruisin! in my Blue Supreme



Fade out,you14e already made a scene

around meFade no, Qust say it in the ay you !o by$t1s my on time, it1s my ontime

When lo4e comes, honey, takeitEnly one in a hundred make itWe1re fakin! till there1s nothin!to fake Mhere1s someone that $1m dyin!to be,it1s cruisin! in my bluesupreme

Babe,

cruisin! in my Blue SupremeSomeone that $1m dyin! to be+cruisin! in my Blue Sureme-

someone that $1m dyin! to be+cruisin! in my Blue Sureme-cruisin! in my Blue Supreme 9ruisin! in my Blue Supreme,

cruisin! in my Blue Supreme, there1s someone that $1m dyin!to be +cruisin! in my BlueSureme-,but nothin! e4er comes forfree*cruisin! in my Blue Sureme-$1m cruisin! in my BlueSupreme*cruisin! in my Blue Sureme-

Mhere1s somethin that $1m







Babe,











Babe,



cruisin! in my Blue Supreme, there1s someone that $1m dyin!to be +cruisin! in my BlueSureme-,

but nothin! e4er comesfor free*cruisin! in my Blue Sureme-$1m cruisin! in my BlueSupreme

*cruisin! in my Blue Sureme-1 1



Midal Wa4e 5ast Friday,$ seen you in the photo booth

Gou chan!ed your name,



Day by day,e atch the !old bar

Sa4ed by fame,$ see you and you1re !oin! far Gou1re truly at the doorof some !reat admiration

Eh, hat a seet serenade,and the ni!ht is still youn!Eh, there1s a ood comin!soon,and this rush hits me Qust like a

the screen really takes to you Geah, you1re really breakin!

throu!hon some !reat accolades Eh, hat a seet Saturday,and the ni!ht is still youn! forlo4eMhere1s a ood comin! soon,and this rush hits me Qust like a tidal a4e, a tidal a4e, a tidala4e, a tidal a4e

Eh, there1s a ood comin!soon,and the ni!ht is still youn! forlo4e

Feel the tu! of the moon,



Breaker /+#l (intor , 0N/V-



+ o , N -

9ome back, come back, $1m the arnin!9ome back, come back, Breaker Ene

Gou seen the dayWhen $ hold you ti!ht

Asleep beside meMhere is a slope like an appetite e descendslolyAnd $ fear my deep makeup

Mhe ache inside !o aayMhe 4acant mind Qust relaySome e6plosion from the bri!ht side

9ome back, come back, $1m the arnin!

Breaker /+#l (intor , 0N/V-



+ , -

9ome back, come back, $1m the arnin!9ome back, come back, Breaker Ene

Gou seen the dayWhen $ hold you ti!ht

Asleep beside meMhere is a slope like an appetite e descendslolyAnd $ fear my deep makeup

Mhe ache inside !o aayMhe 4acant mind Qust relaySome e6plosion from the bri!ht side

9ome back, come back, $1m the arnin!

Gou seen the dayIo it happens ri!ht Day1s be!un



pp !Mhis beast inside meIe leads the ayMhen he1s at my sideWe feast till $1mstar4in!And $ feel my deep

makeupMhe ache inside !oaayAm $ apin! some old

holidaySome remnants of aild side$1m inclined9u3 $14e seen my

y !Hrace becomeBabe this eek $ QustWent throu!h so muchAnd ent throu!h somuch darlin!And $14e seen my deep

makeupMhe ache inside !o aayMhe patience to climb allday

Some remnants of amountain$1m inclined9u3 $ need my needs to!et by

1




pp !Mhis beast inside meIe leads the ayMhen he1s at my sideWe feast till $1mstar4in!And $ feel my deep



y !Hrace becomeBabe this eek $ QustWent throu!h so muchAnd ent throu!h somuch darlin!And $14e seen my deep



1




Mhis beast inside meIe leads the ayMhen he1s at my sideWe feast till $1mstar4in!And $ feel my deep



Hrace becomeBabe this eek $ QustWent throu!h so muchAnd ent throu!h somuch darlin!And $14e seen my deep



1










1










1

Gou seen the dayIo it happens ri!hthi b i id

Day1s be!unb









1

E des!aste do mal interior,do pecado

E des!aste da labuta paraedi'car a 4ida

Mice as Iard Mhere ere days of no surprise

$ relied on feer liesto let you in,become my lo4erSo ith all of m relations



Mhere ere days of no surpriseon the in!,

hen nobody cared but youEutri!ht e tried to feel asal4ationMhe proof of it as alays you,boo $f these times should si!nify mymistakes,please !i4e me poerMhese are all of my creations,lea4in! me disa4oed

tice as hard, tice as hard$ !i4e it ri!ht back to you,$ !i4e it ri!ht back to you,tice as hard

So ith all of my relations,one ca4es in on the other


Eh, those ni!hts of many li4efolloin! beautiful hours?Mhese are all of my creations,4eerin! me no toards you tice as hard, tice as hard$ !i4e it ri!ht back to you,$ !i4e it ri!ht back to you,tice as hard


$ relied on feer liesto let you in,become my lo4erSo ith all of my relations




hen nobody cared but you+Breaker /-Eutri!ht e tried to feel asal4ationMhe proof of it as alays you,boo $f these times should si!nify mymistakes,please !i4e me poerMhese are all of my creations,

lea4in! me disa4oed tice as hard, tice as hard$ !i4e it ri!ht back to you,$ !i4e it ri!ht back to you,

tice as hard









hen nobody cared but you+Breaker /-Eutri!ht e tried to feel asal4ationMhe proof of it as alays you,boo $f these times should si!nify mymistakes,please !i4e me poerMhese are all of my creations,


tice as hard









hen nobody cared but youEutri!ht e tried to feel asal4ationMhe proof of it as alays you,boo $f these times should si!nify mymistakes,please !i4e me poer+ARBI, Breaker /-Mhese are all of my creations,


tice as hard





$ relied on feer lies+Anyhere BS-to let you in,become my lo4er






become my lo4erSo ith all of my relations,

one ca4es in on the other tice as hard, tice as hard$ !i4e it ri!ht back to you,$ !i4e it ri!ht back to you,

tice as hard Eh, those ni!hts of many li4efolloin! beautiful hours?Mhese are all of my creations,4eerin! me no toards you tice as hard, tice as hard$ !i4e it ri!ht back to you,$ !i4e it ri!ht back to you,tice as hard






hen nobody cared but youEutri!ht e tried to feel asal4ationMhe proof of it as alays you,boo $f these times should si!nify mymistakes,please !i4e me poer +AncientWays 2$W-Mhese are all of my creations,


tice as hard













Eh, those ni!hts of many li4efolloin! beautiful hours?Mhese are all of my creations,4eerin! me no toards you



/ P Q i * i





"x# $/rea.er 1&F $-ncient +imes&

0 Para (ue contribuam para ocaráter atmosf*rico da mCsicaO

As letras de Paul Bankssão agas e eocatias!

"x# $M /lue Gupreme&F $M Hesire&


; P b Q _ i





1) o instrumental do tema"x# $+he Ne,&' T!" (22) | "x# $-rise' -,a.e&'/an.s (22)

2) os restantes temas do 0lbum"x# $est M 3hemistr& 4 $%ighthouse& no 0lbum5%+- (26)

7) o cinematogr08co


; P b Q _ i





1) o instrumental do tema"x# $Game +o,n' Ne, Gtor&F $-ncient Was&

0- os restantes temas do álbum

7) o cinematogr08co"x# -/9' $"erthing is Wrong&F $+,ice as 9ard&

A obra como descri")o da 4ida

V P b t d



V Para (ue a obra, no seu todo

or!_nico, e6prima a comple6idadeda 4ida +chiaroscuro-O

As letras de Paul Banks

comunicam uma i<ncia dram0tica cu=adramaticidade > atenuada

/- na pr<pria letra, por meio de e6press#es

positi4as (ue criam uma tens)o irresolC4el"x# $M Hesire&F $-n,here&F $"erthing is Wrong& 0- na pr<pria letra, por meio do absurdo+situa"#es ins<litas, e6press#es il<!icas, uso de

;- no instrumental, por meio do alsetto"x# $M /lue Gupreme&



V- no instrumental, por meio de obQetos sonoros

"x# $/rea.er 1&

T- no instrumental, por meio da modula")o deescala ou uso de distor")o

"x# $Game +o,n' Ne, Gtor& (outro)

U- no 4isual, por meio de temas inesperados ouhist<rias dissonantes com o sentido da letra"x# -/9F $"erthing is Wrong&F $+,ice as 9ard&

A obra como descri")o damodernidade



T Para (ue a obra, no seu todoor!_nico, e6prima a modernidadeO


contribuem para os seguintes traços da mIsicacontemporJnea

/- ata(ue : melodia = e6plora")o do ritmo

0- desen4ol4imento da sonoridade eletr<nica

;- recusa do eu totalitário

/ Ata(ue : melodia = e6plora")o doritmo



A4ers)o ao sentimentalismo comportado pelae6uber_ncia das composi"#es tonais do ultra.romantismo +ahler e Wa!ner-Csica2rudita dos*c

Csica Pop dos*c

9aracter7sticas

5etras de PaulBanks

Atonalidade

9laudeDebussy

oise Rock

Sonic Gouth

Pouca

amplitudemel<dica

Forma

so do cal)oA!ramaticalidadeSurrealidade ec<micoFi!uras de

estilo derepeti")o

SerialismoShonber!

Shoe!a3eB@

Repeti")ointensa debre4esmoti4os

inimalismoSte4e ReichPhilip Hlass

Post.Rock Slint

AtonalidadeDistor")o

$nterpolO%Ancient

Ways&

S7ncopeSec")o r7tmica

proeminente

MemaA!ressi4idade

na rela")o

2ntertainmentWeekly%R d



%Record

Shoppin! ithPaul Banks&T Setembro0N/V

0 Desen4ol4imento da sonoridadeeletr<nica



26plora")o da dimens)o espacial do somO sonseletronicamente produ3idos com re4erbera")o eeco +paisa!em sonora- sons eletronicamente!ra4ados (ue e4ocam os espa"os de ori!emCsica2rudita dos*c

Csica Pop dos*c

9aracter7sticas

5etras de PaulBanks

usi(ue9oncrtePeterSchaeYer

Csicaeletr<nicarafterk

Me6turaesparsa2spa"amentoentre notas

FormaPala4ras raras+opacidade-Diálo!o!ra4ado

Aus>ncia dearticuladoressintáticos9ampossem_nticos

Sonseletr<nicosStockhausen

Post.Punk Public $ma!e

Re4erbera")odas notas, eco

$nterpol%y Desire&%Midal Wa4e&

Sinteti3adoresRitmosmetron<micos

.

Droned $n Sound%DiS eets $nterpol1s Paul Banks&/g Setembro 0N/V



/g Setembro 0N/V

Blue Supreme1 is one of our fa4ouriteson!s on the ne record Mhis is a bit of apunt, but is it about a midlife crisesJ

$t could be $t1s not me feelin! like $1mha4in! one, but $ kind of feel like youcould apply that sense of Fuck it $ needto spread my in!s1

$ lo4e the ord supreme1 $ like the ima!eof the American road trip a lot, but alsoho that particular phrase can e4okemore of a metaphorical state of mind than

; Recusa do eu totalitário

Mentati4a de elimina")o da '!ura do compositor



Mentati4a de elimina")o da '!ura do compositorcomo autor (ue controla a sua obra e se e6primeemoti4amente por meio dela 2spa"o dado :indetermina")o e participa")o alheia nacomposi")oCsica2rudita dos*c

Csica Pop dos*c

9aracter7sticas

5etras de PaulBanks

Csicaaleat<ria \ohn 9a!e

oise Rock Sonic Gouth

$mpro4isa")o FormaEscila")opronominal

Mema

9onstru")o depersona!ensFra!mentosde con4ersa

inimalismoSte4e ReichPhilip Hlass

Post.Rock o!ai

Formas n)oestruturadasde tocar oinstrumento

$nterpol%Same Mon,e Story&

Aus>ncia desolos9ontraponto

A l1*coute de l1album et notamment du morceau Same'own, 0ew Story on a l1impression (u1$nterpol a fait peauneu4e tout en re4enant sur les sonorit*s des d*buts,peut on parler d1un retour au6 sources J



peut.on parler d1un retour au6 sources JEn ne peut pas parler d1un retour au6 sources

4*ritablement car Q1adore tous nos albums pr*c*dents etils *taient primordiau6 dans l1histoire d1$nterpol 9ertes,artisti(uement, tu dois pro!resser et 4oir plus loin, sortirdes sentiers battus, Qe pense (ue cet album s1est faitdans un *tat d1ur!ence et (ue les morceau6 4enaient

instincti4ement

Sur 9nywhere par e6emple, Q1a4ais le couplet et le refrainet Qe sa4ais 4ers (uelle direction aller 2n re4anche, sur lemorceau Same 'own, 0ew Story , Q1a4ais le riY de !uitare

seulement, c1*tait un instrumental : la base Pas debasse, pas de 4oi6

Sou4ent Paul et moi tra4aillons les parties !uitaress*par*es, c1est.:.dire (ue Q1enre!istre le matin pare6emple et lui le soir uand Qe suis retourn* en studio et

1




peut.on parler d un retour au6 sources JEn ne peut pas parler d1un retour au6 sources


instincti4ement

Sur 9nywhere par e6emple, Q1a4ais le couplet et le refrainet Qe sa4ais 4ers (uelle direction aller 2n re4anche, sur lemorceau Same 'own, 0ew Story , Q1a4ais le riY de

!uitare seulement, c1*tait un instrumental : la base Pasde basse, pas de 4oi6

Sou4ent Paul et moi tra4aillons les parties !uitaress*par*es, c1est.:.dire (ue Q1enre!istre le matin par

e6emple et lui le soir uand Qe suis retourn* en studio et






instincti4ement





A l1*coute de l1album et notamment du morceau Same'own, 0ew Story on a l1impression (u1$nterpol a fait peauneu4e tout en re4enant sur les sonorit*s des d*buts,peut.on parler d1un retour au6 sources J





instincti4ement





orthern Mransmissions, %orthern Mransmissions$nter4ies Paul Banks& +0 Eutubro 0N/0-

MO Io personal is the album there are a



MO Io personal is the album, there are a

couple of son!s hich sound really intimateJ(aul Banks/ $ don1t think it1s much morepersonal then other stuY $14e done $ use thepronoun %$&, %she&, and %he& pretty much

interchan!eably in all my ork

$ think there are a couple of son!s that areparticularly personal, like E4er y Shoulder1

and really mostly Goun! A!ain1, here that1sde'nitely me reectin! on me

A son! like $1ll Sue Gou1 is me proQectin! my

o n tho !hts on to a character Mhe Base1 is

V Personali3a")o da 4o3

Procura da ori!inalidade e de um estilo Cnico



!(ue e6prima o eu do artista +sobre4i4>ncia do

subQeti4ismo rom_ntico na mCsicacontempor_nea-

Csica Pop dos*c

9aracter7sticas 5etras de PaulBanks

Modos Ampli'ca")o permite4o3 com ine6#esindi4iduais

FormaA!ramaticalidadePala4ras rarasEscila")opronominalParalelismo

MemaRela"#es@ida urbanaal

Substitui")o da pautapela !ra4a")oO oartista * parteinte!rante da obra dearte temporalidadeda obra

9olapso entrecomposi")o e

interpreta")oO a

Wonderin! Sound%$nterpolO Findin! e 5ife in 5oss&/T Setembro 0N/V



Ie can be especially ti!ht.lipped hen itcomes to talkin! about his lyrics, so it1s asurprise to hear him so illin! to openup about his process %$ think $ as

tryin! to car4e a niche on the 'rst andsecond records, especially on 9ntics,& hesays %o $ kind of feel like $ on thethin! $ do Io do $ ant to impro4eithin that 4ein that $ come from andho do $ e6plore ne thin!sJ Albumthree as the one here $ second.

d lf th t lb f

@illa!e @oice%Fall HuideO $nterpol Return With Mheir FirstRecord in Mhree Gears +But dont look for that



persona.!roomin! bassist-&

/ Setembro 0N/N

%$ do !et the feelin!,& frontman PaulBanks says, %that unless you really, really

listen to our music, you probably ha4e theron! idea about hat kind of person $am&What do all those shallo listeners thinkJ

%Mhat $1m depressi4e, Qaded, cynical,bitter, and pretty an!ry a lot of the time&Ah, yes[that %$1m really not thisbroodin!, sad !uy,& Banks continues

Andre nterber!erStylus, 0NNV



@nterpol K eerone?s got an opinion on Lem'and here is mine# ood band' tight chemistrand a *antastic guitar sound! Hespite ho,

eerone sas that the?re nothing but acollection o* inuences *rom cooler bands o* the6s and Os (and technicall' the still are)the?e proen to be one o* the most inuential

roc. bands o* the decade' traces o* their sound,or.ing into countless other bands (includingbrea.throughs li.e PranB Perdinand and +heQillers)! Gounds good' but there?s still a




@?e gro,n to loe them in their o,n ,a' butgod the still hae the po,er to ma.e mecringe' een a*ter extended time ,ith thealbum! No, @?m sure @?m gonna get a ton o*

excuses *or thisR$it?s part o* the @nterpolsoundS'& $come on' ,ho listens to lricsanmoreT&Reah' eah' eah' but none o* thischanges that these lrics are bad' bad' bad!

-mong the atrocities *ound among @nterpol?sdebut album Turn on the !right "ights are dumbmetaphors' *orced rhmes' horrible similes andsome o* the ,orst uses o* personi8cation ou?ll




@?e gro,n to loe them in their o,n ,a' butgod the still hae the po,er to ma.e me cringe'een a*ter extended time ,ith the album! o$1m sure $1m !onna !et a ton of e6cuses for

this[%it1s part of the $nterpol sound?,&%come on, ho listens to lyricsanymoreJ&[yeah, yeah, yeah, but none ofthis chan!es that these lyrics are bad, bad,

bad -mong the atrocities *ound among@nterpol?s debut album Turn on the !right "ights are dumb metaphors' *orced rhmes' horriblesimiles and some o* the ,orst uses o*




$14e !ron to lo4e them in their on ay,but !od they still ha4e the poer to makeme crin!e' een a*ter extended time ,ith thealbum! No, @?m sure @?m gonna get a ton o*

excuses *or thisR$it?s part o* the @nterpolsoundS'& $come on' ,ho listens to lricsanmoreT&Reah' eah' eah' but none o* thischanges that these lrics are bad' bad' bad!

-mong the atrocities *ound among @nterpol?sdebut album Turn on the !right "ights are dumbmetaphors' *orced rhmes' horrible similes andsome o* the ,orst uses o* personi8cation ou?ll

/N ]$ ish $ could eat the salt oY your lost fadedlips%7bstacle $



%She says brief thin!s, her lo4e1s a pony, mylo4e1s subliminal%.ei #rikson

; ]Ier stories are borin! and stuY = She1s alays

callin! my bluY& 7bstacle $

0 %y best friends a butcher, he has si6teenkni4es = Ie carries them all o4er the ton at least

he tries = Eh look it stopped snoin!&Aoland

ueremos e6plicar a Qun")o das duas

% &

%She says brief thin!s, her lo4e1s a pony, mylo4e1s subliminal% .ei #rikson



5n their o,n' none o* these lrics ,ould be too terribleR,ell' o* course' except *or the pon oneRbut ,hencombined' the?re a classic /an.s dud! $Ghe sas brie*things&Ro.' @ guess that could be considered nice! $9erloe?s a pon&Ruh' @ guess eerone li.es ponies! $Mloe?s subliminal&Roh' 5Q! +hat explains eerthing!

%She says brief thin!s, her lo4e1s a pony, mylo4e1s subliminal% .ei #rikson



5n their o,n' none of these lyrics ould be tooterrible[ell, of course, e6cept for the pony oneRbut ,hen combined' the?re a classic /an.s dud! $Ghesas brie* things&Ro.' @ guess that could be considerednice! $9er loe?s a pon&Ruh' @ guess eerone li.esponies! $M loe?s subliminal&Roh' 5Q! +hat explainseerthing!

nterber!er a'rma (ue a metáfora pela (ual o

amor dela * comparado a um %p<nei& * terr74el,um e6emplo de má poesia 4erdadeJ

A t) * > l % < i&

/N ]$ ish $ could eat the salt oY your lost fadedlips%

7bstacle $



@n the 8rst o* lricist :aul /an.?s man stabs at somesemblance o* romanticism' this is among the ,orst opsRplus' he should be lic%ing the salt o o* said lost *adedlips' not eating it! No one eats salt!

/N ]$ ish $ could eat the salt oY your lost fadedlips%

7bstacle $



@n the 8rst o* lricist :aul /an.?s man stabs at somesemblance o* romanticism' this is among the orstopsRplus' he should be lickin! the salt oY of saidlost faded lips, not eatin! it! No one eats salt!

nterber!er a'rma (ue o uso do 4erbo %eat& noconte6to de %eat salt& * a!ramatical, um e6emplode má poesia 4erdadeJ

A (uest)o * por(u> a pala4ra %eat& em 4e3 de%lick&ual a inten")o de BanksJ ue efeito art7stico

t d l bt J

; ]Ier stories are borin! and stuY = She1s alayscallin! my bluY& 7bstacle $

$5bstacle 1& hurts me deepl because it ,ould be such



5bstacle 1 hurts me deepl' because it ,ould be such

a great song ,ithout lines li.e this one! :erhaps the mostobiousl *orced rhme in indie roc. histor' the use o*the $and stu& 8ller phrase still stuns =ust as much todaas it did t,o ears ago! @* it ,asn?t *or the *act that the$she?s al,as calling m blu& line is .ind o* cool' this,ould certainl be the ,orst line on the album! What,ere ou thin.ing' manTTT

; ]Ier stories are borin! and stuY = She1s alayscallin! my bluY& 7bstacle $

$5bstacle 1& hurts me deepl because it ,ould be such



5bstacle 1 hurts me deepl' because it ,ould be such

a great song ,ithout lines li.e this one! :erhaps the mostob4iously forced rhyme in indie roc. histor' the useo* the $and stu& 8ller phrase still stuns =ust as muchtoda as it did t,o ears ago! @* it ,asn?t *or the *act thatthe $she?s al,as calling m blu& line is .ind o* cool'this ,ould certainl be the ,orst line on the album! What,ere ou thin.ing' manTTT

nterber!er a'rma (ue a rima %stuY&=%bluY& *

for"ada, um e6emplo de má poesia 4erdadeJ

A (uest)o * por(u> uma rima t)o ob4iamente for"adaJ

l i t ) d B k J f it t7 ti



0 %y best friends a butcher, he has si6teenkni4es = Ie carries them all o4er the ton at leasthe tries = Eh look it stopped snoin!&

Aoland



Aoland

+he 8rst line to $oland& isn?t so bad @ guessRsome sillylines about a butcher *riend o* /an.s!

/ut then' *or some reason' he gets distracted b the,eather and remar.s upon ho, it has stopped sno,ing!@t?s li.e /an.s ,as in the studio singing $oland&' andupon reaching the end o* the line' glanced out the,indo, and ,as so stunned b the *act that it had

stopped sno,ing +J-' that he had to remar. upon it insong' *orgetting that the mic ,as still on!

@ can =ust picture the producer later realiBing it ,as still in

the song and going to cut it out but /an.s interrupting

0 %y best friends a butcher, he has si6teenkni4es = Ie carries them all o4er the ton at leasthe tries = Eh look it stopped snoin!&

Aoland



Aoland

A nterber!er a'rma (ue toda a hist<ria doami!o carniceiro * idiota, um e6emplo de mápoesia 4erdadeJ

A (uest)o * por(u> uma hist<ria idiotaJual a inten")o de BanksJ ue efeito art7sticopretende ele obterJPARA 2 constr<i Banks uma hist<ria idiotaJ9om (ue 'nalidade / a T se relacionaJ

B nterber!er a'rma (ue a inclus)o da frase %ohlook, it stopped snoin!& * ine6plicá4el, ume6emplo de má poesia 4erdadeJ


Finalidade / | Para (ue seQam



Finalidade / | Para (ue seQam

sim*tricasOAs letras de Paul Bankssão construídas com base na repetição com ariação!

"x# $/rea.er 1&F $-ncient +imes&

Finalidade 0 | Para (ue contribuam

para o caráter atmosf*rico damCsicaO


são a as e eocatias


Finalidade ; | Para (ue a obra seQa



a dade ; | a a (ue a ob a seQa

or!_nicaOAs letras de Paul Bankssão apenas parte do seu sentido global' *uncionando

complementarmente com#

/- o instrumental do tema"x# $+he Ne,&' T!" (22) | "x# $-rise' -,a.e&'/an.s (22)

0- os restantes temas do álbum"x# $est M 3hemistr& 4 $%ighthouse& no 0lbum5%+- (26)

A obra como descri")o da 4ida

Finalidade V | Para (ue a obra, no



| ( ,

seu todo or!_nico, e6prima acomple6idade da 4ida O


comunicam uma i<ncia dram0tica cu=adramaticidade > atenuada

/- na pr<pria letra, por meio de e6press#es

positi4as (ue criam uma tens)o irresolC4el"x# $M Hesire&F $-n,here&F $"erthing is Wrong& 0- na pr<pria letra, por meio do absurdo+situa"#es ins<litas, e6press#es il<!icas, uso de

;- no instrumental, por meio do alsetto"x# $M /lue Gupreme&

V- no instrumental por meio de obQetos sonoros



V- no instrumental, por meio de obQetos sonoros

"x# $/rea.er 1&

T- no instrumental, por meio da modula")o deescala ou uso de distor")o

"x# $Game +o,n' Ne, Gtor& (outro)

U- no 4isual, por meio de temas inesperados ouhist<rias dissonantes com o sentido da letra"x# -/9F $"erthing is Wrong&F $+,ice as 9ard&

A obra como descri")o damodernidade



Finalidade T | Para (ue a obra, noseu todo or!_nico, e6prima amodernidadeO

As letras de Paul Bankscontribuem para os seguintes traços da mIsicacontemporJnea

/- ata(ue : melodia = e6plora")o do ritmo 0- desen4ol4imento da sonoridade eletr<nica

;- recusa do eu totalitário

$ntrodu")o

a- 9omentar um dos 4ersos criticados por



- p

nterber!uer e (uestionar +sem respondercontudo- a sua aprecia")o b- 5e4antar a (uest)o da pr<pria rea")o

deleO %lo4e them in their on ay& j%crin!e& Por(u> a Qun")o, aparentementecontradit<ria, destas rea"#es opostasJ

c- Propor e6plicá.la, mostrando n)o sercontradit<ria

0ota/ 7 4erso escolhido de4er ser

Desen4ol4imento | Pro4ar cada umadas se!uintes a'rma"#es por meio deentre4istas e análises de mCsicas +%Mhe



+

e&, %Summer Well&, %5i!hts& e do #l(intor -O

/ As letras de Paul Banks s)o constru7das

com base na repeti")o com 4aria")o, para(ue seQam sim*tricas KZL5o!o, %bluY& e %suY& n)o * má poesia,mas uma repeti")o com 4aria")o (ue !era

simetria

0 As letras de Paul Banks s)o 4a!as ee4ocati4as, para (ue contribuam para o

; As letras de Paul Banks s)o apenasparte do sentido !lobal da obra,funcionando complementarmente com, por

l + lh l7 -



e6emplo, +escolher al7nea-, para (ue aobra seQa or!_nica

V As letras de Paul Banks comunicam uma

4i4>ncia dramática cuQa dramaticidade *atenuada, por e6emplo, por +escolheral7nea-, para (ue a obra, no seu todoor!_nico e6prima a comple6idade da 4ida

T As letras de Paul Banks contribuem paraos tra"os da mCsica contempor_nea, em(ue a mCsica da banda se inclui, para (ue



F5A@ERW$R2/N of Rock1 n1 Rollost E4errated5yricists



5yricists

/ +om 9a,.ing5ctober 17' 211



%nknon PleasuresO $nterpol&, by \eY lin!manBrooklyn )a!azine , 0 Setembro 0N/V

For anyone lookin! to poke fun at the band, Banks1



y ! p ,

lyrics are the loest han!in! fruit 2arlier this year,Bu33feed published a representati4e articlespotli!htin! his most (uestionable turns of phrase,titled %Proof the Huy From $nterpol Enly Ias a @a!ueFamiliarity With the 2n!lish 5an!ua!e&

From the band1s be!innin!, his dour intonation oflines[4eerin! from pu33lin! surreality to fra!mentedcon4ersation[has been a key element settin! $nterpolapart from do3ens of An!lophilic record !eek bands

Some, like %G9&1s infamous, %Mhe subay she is aporno,& e6ist in a 3one beyond !ood or bad, ha4in!become absurdly memorable tokens of e Gork in acertain era Some, like %Gou are the only person ho1scompletely certain there1s nothin! here to be into,&

Banks has heard the Qokes, if not the straycompliments %$ don1t think $14e e4er !otten kudos,& hesays %Ene thin! $14e noticed is some lyrics $14e seenbein! poked fun at are mis(uoted, hich bums me out



! p (

Mhat really bums me out Mhere as a (uote ith, like,Mime is like a broken atch1 $ said, $1m timeless like abroken atch,& hich is ay, ay, ay better thanMime is like a broken atch1 When people talk shitabout a lyric and !et it ri!ht, it1s typically a lyric that

$1m like, a man, that1s a !reat lyric1 But no, $ don1tread anythin! online $ don1t read anythin! in print,either $t doesn1t do a lot for me to read hat peoplesay&

$n 0N/V thou!h, criticism is persistent in reachin! itstar!ets %$ had a really bad moment hen $ as onMitter tryin! to promote my solo record, and someonesaid, like, Eh, this paper !ot it ron! a!ain1 $ clickedit and $ sa this headline, %What the Fuck $s Wron!

& 1

Pre'6 a!a3ineby Sasha HeYen +0; Au!ust 0N/0-

$t $s p Mo e oO Mhe /N Best 5yrics From



$t $s p Mo e oO Mhe /N Best 5yrics From

$nterpols Murn En Mhe Bri!ht 5i!hts

Interol8s debut .( just turned $% years old" ?ereare its best lyrics"

While Bri!ht .i!htss soundscapes ere hatbroke so much !round in its !enre, Paul Banksslyrics and the ay he deli4ers them set the bandapart from the masses of su!ar.coated, radio.

friendly post.punk re4i4al hits Ebli(ue, surreal,yet at times unner4in!ly blunt, the ordsscattered across $nterpols debut still rin! asperfect pu33le bo6es atop !or!eous cascades of

d

/N F)y best riend8s a butcher" ?e has si;teenkni4es" ?e carries them all o4er the townGGatleast, he tries" 7h look, it stoed snowin!H )ybest riend8s rom (oland and um, he has ab d B t th ht hi ith hi i



beard" But they cau!ht him with his case in a ublic lace" 'hat is what we had eared"F |Roland

$ dont kno that ]um] has e4er been used

eYecti4ely as part of a son! lyric, nor do $ belie4eit e4er ill a!ain Roland stands as a frantic littlespot of absurdity in an album thatspredominantly melancholic and for that, e

adore it FIt8s in the way that she walks" ?er hea4en isne4er enou!h" She uts the wei!hts in my heart,she uts the wei!hts into my little heart"F |

U FI !uess you could say I !a4e you my ed!e" Ican8t retend I don8t need to deend some art ome rom you"F | Mhe e

Mradin! freedom for stabilit is no eas choice to



Mradin! freedom for stability is no easy choice tomake 24en the most successful intimaterelationships come at the price of losin! your]ed!e,] as it ere And yes, theres alays thatpart of yourself that you feel the need to protect

e4en from the person ho lo4es you the most

T FI had se4en acesGGthou!ht I knew which oneto wear" I8m sick o sendin! these lonely ni!hts

trainin! mysel not to care" 'he subway, she is a orno" (a4ements, they are a mess" I knowyou84e suorted me or a lon! time" Somehow,I8m not imressed"F | G9

argumentação 4 - refutação da tese ii

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