Paul Banks, the enigmatic frontman of the iconic indie rock band Interpol, is known for his distinctive baritone voice and introspective lyrics. Before captivating audiences worldwide with his musical talent, Banks cultivated a deep appreciation for literature, having majored in English and comparative literature at NYU. This background profoundly shapes his artistic sensibilities, even if indirectly influencing his songwriting. In a revealing interview, Banks delves into his favorite authors, reading habits, and the intriguing relationship between his literary passions and his lyrical craft.
A Lifelong Love for Literature
Banks confesses that while his reading habits have fluctuated over time, literature has been a constant companion throughout his life. After college, he embarked on a focused journey through classic literature, seeking to absorb the works he felt were essential. This dedication to the classics highlights a desire for foundational knowledge and a deep respect for literary tradition. Among the authors that resonate deeply with him, Thomas Mann stands out. Banks expresses a particular fondness for The Magic Mountain, appreciating Mann’s broader body of work and its intellectual depth.
Soulful Connection with Henry Miller
Another literary giant who holds a special place in Banks’ literary pantheon is Henry Miller. Banks describes an almost spiritual connection with Miller’s writing, stating, “He’s the first author with whom I had a connectivity of the soul, a reflection of everything I would feel.” This profound resonance suggests that Banks finds in Miller’s works an echo of his own inner world and emotional landscape. He admires Miller’s confessional, semi-autobiographical style, finding it more relatable to his own creative aspirations than the elaborate world-building of authors like Dostoevsky. Banks’ penchant for vintage Miller editions and his growing collection further emphasize his deep admiration for this author.
Dostoevsky, Nabokov, and Proust: Masters of World-Building and Language
While drawn to Miller’s introspective style, Banks also acknowledges the brilliance of authors with contrasting approaches. He recognizes Dostoevsky, a favorite of Miller himself, for his unparalleled ability to construct immersive fictional worlds. Nabokov, another author Banks admires, evokes awe for his masterful command of language, especially considering English was not his native tongue. Proust earns high praise as “the total package,” blending Nabokov’s linguistic artistry with Dostoevsky’s profound character depth. Banks marvels at Proust’s poetic prose, capable of eliciting deep emotional responses through carefully crafted phrases. These diverse literary preferences reveal a sophisticated appreciation for various writing styles and narrative techniques.
Literature as a Road Companion
Banks reveals a personal dimension to his reading habits, explaining how his literary choices are often influenced by his life circumstances, particularly touring. He recounts taking Henry Miller on tour as a “great road companion,” finding solace and connection in his works amidst the demands of touring. Melville’s Moby Dick became a more challenging, yet rewarding, travel companion. Initially finding Melville’s sentence structure demanding, Banks persevered, eventually adapting to his style and appreciating the immersive experience. His subsequent exploration of Melville’s Typee and Omoo showcases a sustained engagement with authors who resonate with him during specific phases of his life.
Songwriting Style: More Lynchian Than Literary?
When asked about the direct influence of his favorite authors on his songwriting style, Banks offers a nuanced perspective. Instead of direct literary parallels, he suggests that the stylistic world of David Lynch’s films is a closer analogue to his writing. This comparison points towards an appreciation for atmosphere, surrealism, and a certain enigmatic quality, elements often found in both Lynch’s cinematic works and Interpol’s music. This indirect influence suggests that literature shapes Banks’ broader artistic sensibility rather than directly dictating his lyrical content.
Lyrics vs. Poetry: A Matter of Melody
Banks makes a clear distinction between lyrics and poetry, explaining why Interpol’s lyrics are not included in their album packaging. He believes that lyrics, when presented in stanza format, can be misconstrued as poetry, a level of artistic achievement he humbly disclaims for his own work. He argues that rock lyrics are inherently intertwined with music, relying on melody and instrumentation to complete their artistic expression, unlike the self-sufficient cadence of poetry. This perspective reveals a grounded understanding of the specific nature of songwriting within the musical context. Banks even posits that hip hop, in its lyrical focus, often surpasses rock in poetic merit, particularly praising its independence from melody. He cites exceptions in folk-based rock artists like Bob Dylan and Leonard Cohen, who adopt a more writerly approach to songwriting. However, he emphasizes that in rock music, melody reigns supreme, and lyrical meaning can sometimes take a backseat to sonic impact, citing Outkast’s “Hey Ya” as a prime example of a successful song where lyrical depth is not paramount.
The Philosophy of Lyric Writing: Absurdity and Surrealism
Delving into his songwriting philosophy, Banks emphasizes the importance of understanding “the sensible” as a foundation for venturing into the absurd or surreal. He believes that artistic deviation from the norm is only effective when grounded in a firm grasp of conventional structures. This approach aligns with his lyrical style, often characterized by juxtaposition, absurdity, and surrealism, reflecting a “college age mentality” that questions established norms and embraces unconventional perspectives.
Inspired by Shepard Fairey and Kafka
Banks cites Shepard Fairey’s “Obey the Giant” street art campaign as a key influence on his artistic philosophy. He admires Fairey’s use of jarring and nonsensical phrases to disrupt passive consumption of information and provoke critical thought. This resonates with Kafka’s notion of literature as “a sledgehammer to the frozen pond of the mind,” a quote Banks embraces as a guiding principle for his own writing. These influences reveal a desire to create lyrics that are not merely aesthetically pleasing but also intellectually stimulating and thought-provoking, even within the musical framework.
Playfulness with Language: Post-Structuralist Influences
Banks acknowledges a “post-structuralist literary theorist” aspect to his approach, highlighting his “playfulness of language.” His linguistic curiosity extends to Spanish slang, acquired during his time living in Mexico, and his appreciation for turns of phrase in various languages. This linguistic playfulness manifests in his songwriting through deliberate grammatical errors and non-sequiturs, designed to disrupt conventional sentence structures and prompt listeners to question the intended meaning. The goal is to evoke a secondary thought process, encouraging audiences to consider not just what is being said but why it is being said in a particular way.
In conclusion, while Paul Banks’ lyrics may not directly mirror the stylistic traits of his favorite authors, his deep engagement with literature undeniably shapes his artistic perspective. His appreciation for classic and modernist writers, his understanding of narrative techniques, and his philosophical approach to language subtly inform his songwriting, contributing to the distinctive and intellectually stimulating character of Interpol’s music. His lyrical approach, infused with surrealism, absurdity, and a playful deconstruction of language, stands as a testament to the enduring influence of his literary background.
