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This episode explores the history and trajectory of the cult rock band Interpol, featuring guest Sarah Lewitinn. The discussion traces the band's origins from their formation at NYU through their distinct aesthetic and musical evolution, highlighting how founders Paul Banks, Daniel Kessler, and Carlos D crafted a singular post-punk revival sound. The conversation examines the intense pressure of early success, the band's notorious partying eras, member departures, and their remarkable endurance as a resilient touring act over nearly three decades.
The episode opens with a brief introduction and several ad reads before diving into the main discussion.
The host humorously asks why the band is called Bandplain and expresses genuine curiosity.
The host announces Sarah Lewitinn, the former Ultra Girl, as the episode’s guest and mentions her new restaurant.
Sarah recounts discovering Interpol in 2000 while working in a record label office and becoming hooked.
Sarah explains how she used her positions at Spin, VH1, and other outlets to champion Interpol’s music.
The conversation details how Daniel, Paul, and Carlos formed the band, their early demos, and first gigs.
Sarah explains how the band settled on the name Interpol and their early performances under different names.
The band welcomes drummer Sam, discussing how his addition instantly changed the group’s chemistry and the importance of a drummer in a band.
The conversation covers the competitive yet parallel trajectories of Interpol and The Strokes, their shared venues, and the influence of the New York underground scene.
The episode includes a series of unrelated ads for Firestone tires, Toyota, and Venmo, interrupting the musical narrative before returning to Interpol’s story.
The band discusses the early 2000s music landscape, the rise of online sharing, and how it shaped their creative process.
Exploration of how songs from Turn On The Bright Lights carried over into Antics, creating a cohesive sound across albums.
Discussion of the album’s darker themes, personal trauma, and the influence of New York’s post‑9/11 atmosphere on the music.
The band’s move to a major label, the resulting tension, and the impact of substance abuse on their dynamics are examined.
The band’s break, solo ventures, and the release of El Pintor are discussed, highlighting their resilience and evolution.
Critique of the 2018 album Marauder’s production choices and its reception among fans and critics.
Reflection on Interpol’s legacy, the impact of their later work, and their ongoing influence in contemporary music.
The hosts discuss Interpol’s impact on Mexican music culture and compare the band to iconic Mexican artists.
They discuss the reception of Interpol’s latest releases, fan expectations, and the band’s continued relevance in the modern music scene.
The episode concludes with gratitude toward guests and staff, a brief recap, and a teaser for the next episode.
Introduction of the Gueststory
The host welcomes guest Sarah Lewitinn, affectionately known as Ultra Girl, who shares her extensive background in the music industry and early fandom for Interpol.
Early Fan Dedicationstory
The guest recounts her early days as an obsessive fan, constantly pushing editors and buying multiple copies of the band's EP to give away.
Paul's Unconventional Startinsight
The host reveals quirky biographical details about Paul Banks, including his early hip-hop projects in Madrid and playing the co-lead in a musical.
The discussion covers how the band members met at NYU while pursuing academic studies like philosophy and English, establishing an unusually literate background for a rock band.
An accidental moment in a tiny studio rehearsal room revealed Paul's distinct vocal style, transforming him from a secondary guitarist into the band's lead singer.
Lo-Fi Recording Secretsstrategy
Producer Peter Katzis discusses how cheap gear like Alesis microverbs contributed to the signature dark, sludgy, and spank-heavy drum sound on Turn on the Bright Lights.
The Enduring Debutinsight
The guest and host argue that Turn on the Bright Lights stands as one of the greatest rock debuts ever recorded, despite shifting critical reception over the decades.
“I was like, who the fuck is this? This is my new favorite band.”
“I wanted to be him so bad, so bad.”
“I just keep on messaging Mark Spitz and being like, I want to intern for you. I want to intern for you. And finally he's like, oh my fucking God, like, okay, come in.”
“over 15 years ago, I read Rob Sheffield's book, Love is a Mixtape.”
“When I say I had a cosmic confidence that we were capable of writing good music, I'm speaking about the time when we met Sam.”
“Um, but a great drummer makes or breaks a band.”
“my first musical memory is The Jam.”
“I probably watched two songs and then went back downstairs and had another drink, but it stuck with me.”
“I, I guess I know what he's saying because like the, this album does sound like this, like kind of requiem for New York City, you know?”
“I think that there is something to be said about writing an album in New York.”
Sarah Lewitinn (music journalist, restaurateur, and the artist formerly known as Ultragrrrl) joins Yasi to revisit Interpol and the early 2000s New York landscape they emerged from. They discuss their international origins, the dogged Joy Division comparisons, and the pressure to follow up on an instant classic, as well as the steady and surprising arc of their career and output leading up to their latest album, this year’s 'This Mirror Weighs a Ton.' Episode Playlist Listen to the Interpol Playlist here Subscribe on YouTube CREDITS: Host: Yasi Salek @yasisalek Guests: Sarah Lewitinn @ultragrrrl Producer: Rob Sundermann Editor: Adrian Bridges Additional Production Supervision: Justin Sayles Theme Song: Bethany Cosentino Learn more about your ad choices. Visit podcastchoices.com/adchoices
31,455 words · 7 speakers
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