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...eight, Marx would hear his brother waking up every morning to the sounds of R.E.M.’s Life’s Rich Pageant. By the time he was 14, Marx had exchanged his childhood piano-playing for edgier guitar music. Soon, he was writing his own songs, creating tapes, and playing with bands throughout high school...

Author: By Katie M. Goldsmith, CONTRIBUTING WRITER | Title: Pitchforkmedia Writer Starts Buzz with New Record Label | 3/18/2005 | See Source »

With a killer combo of drums, vocals, keyboard, guitar, and an undeniable bass, Interpol’s sound is an ironic medley of grim beauty. This “post-punk” band used a wide range of pitches and beats, a powerful bass line, vicious vocals, and periodic spurts of guitar cacophony to tempt its Boston audience...

Author: By Nicole E. Rosner, CONTRIBUTING WRITER | Title: Rock Doesn't Tear Interpol Apart | 3/18/2005 | See Source »

Their nervous electric vibration in the last guitar chords of “Public Pervert” were strung out in a long sonorous cacophony that bled into blinding white lights and the hard drum pulse of “Not Even Jail,” both songs blasting out of the new album...

Author: By Nicole E. Rosner, CONTRIBUTING WRITER | Title: Rock Doesn't Tear Interpol Apart | 3/18/2005 | See Source »

...show, the guitarists began to strum their old classic, “NYC.” The slow fusion of deep guitar chords and light keyboard tones melted into mellow vocals and suddenly the New York City nightlife manifested itself in the conservative Boston venue—two large disco balls appeared in the back of the stage, turning the entire theater into a tranquil disco club...

Author: By Nicole E. Rosner, CONTRIBUTING WRITER | Title: Rock Doesn't Tear Interpol Apart | 3/18/2005 | See Source »

Daniel Kessler remained the only shadow dancing in the musical darkness—body pulsing with each stroke on his guitar as he meandered around the stage...

Author: By Nicole E. Rosner, CONTRIBUTING WRITER | Title: Rock Doesn't Tear Interpol Apart | 3/18/2005 | See Source »

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