I have always liked my sisters entertainment reviews. She used to review films on her personal website before she got to college but hasn’t done any since. She forwarded me her review of Interpol’s Antics which follows:

Unfailingly so, comparisons between Interpol’s debut Turn on the Bright Lights and their follow-up, Antics, will be made. And I am here to say that it’s perfectly okay to compare the two, and yes, the two are not one and the same!
Turn on the Bright Lights was dark and moody, tense and brooding, dealing with the topic of isolation. Antics lets in a little bit of sunlight and the occasional bout of optimism.

Interpol is the first band to really want to make me learn how to play bass. See “Evil” and “Narc.” Carlos D’s thumping grooveworthy basswork will make you want to dance around or at least ponder doing so. The group’s other trademark is Paul Banks’s deep monotone voice, still there, a smidgen lighter. After the first listen, you will think that Antics is a huge letdown to the masterful Turn on the Bright Lights, but keep listening. It’ll grow on you, slowly but surely. Different doesn’t always equal “ew, get it away from me as soon as humanly possible.”

The strongest cut, “Slow Hands,” sounds like it could have been a hidden track on Turn on the Bright Lights, but you won’t find an “Obstacle 1” or “Leif Erickson” on Antics.
Not that it’s a horrible thing, but “Obstacle 1” is currently my favorite song of all time, and it was a bit sad to discover no “Obstacle 3” here. There’s shimmery guitar work reminiscent of Coldplay in “Not Even Jail” and “Take You on a Cruise,” while “Narc” has some disco undertones. An awesome bass solo towards the end of “Public Pervert” saves an otherwise average tune. Opener and closer “Next Exit” and “A Time to Be So Small” are basically filler, like wheat bread holding tasty sandwich contents inside. Or to be more sophisticated (Interpol does hail from NYC), a stuffed grape leaf. Try it.
Goodness that grows on you.