Interpol | Everything Is Wrong
'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.
PB: 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 focus on the negative. Because it automatically implies the inverse…
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. You face the world, it’s fucked up. It really is, it’s falling apart. I feel like you can have moments, especially in the States, with all the NSA shit, Germany saying: “You guys are monitoring our parliament?” It’s really dystopian. You get crazy storms. Russia’s going crazy, maybe there’s going to be a war, maybe all the bees will all die, or the dolphins. It’s a bit much. So it’s not so much a message of, “Everything is wrong so let’s fucking quit it”, it’s almost, in a very weird way, quite empowering.
The mood on this album is a lot lighter than past ones, full stop. The formula, if you ask me, across the spectrum, is broken hope to complete resignation in different flavors and effects across all albums, lyrically, instrumentally, with one song being a sort of tonal curveball (Obstacle 2, Who D’You Think, C’mere, Try It On, Breaker 1). I don’t think this is ever the plan, it just seems to turn out that way for me. El Pintor is a highlight, a high note for the band keeps the tempo up even if the spirit is dying to rise in every register.
Through My Blue Supreme, whose low swell, driving sort of force would be revisited double on Tidal Wave — fittingly — as it ties — fittingly — into the ocean creeping in/out crescendo of Twice As Hard, there’s a momentum that says morale is certainly soaring for a band that needed a bit of a reboot, a bit of a rearrangement. Twice As Hard is the sustain that decays gracefully, but before that, Everything Is Wrong is where Paul Banks is most “soulful,” you can hear him ask himself, confirming his next “coming down” query on the humid, atmospheric float of Ancient Ways, where attentions are turned to the stations on the street, from the roof tops from which one can see the beach.
So that makes Everything Is Wrong is the peak of Interpol’s refined attack, found first in All The Rage Back Home, found second in the live version of Anywhere, and third on the album version: where the rushing edge is leashed back a bit for something more midtempo, but still has its face against the wake. The ramp to EIW’s chorus is short and when it hits, it feels like the closest they’ve come to windsurfing as a band. Alan Moulder and James Brown definitely aid in bringing the fidelity of the record to new heights, giving ample space for Banks’ falsetto-sailing trulies in what is probably the most uplifting song they’ve written.
Everything is wrong, / wrong, / everything is wrong. / All we have is time, / but my heart is going numb. / It’s taking a part of both of us, / and nobody likes to wake. / Everything is wrong, / truly wrong, / everything is wrong. // Everything is wrong. / Truly, yeah. / Truly. // Hold on, hold on, hold on, hold on, hold on, hold on…