Take my hand together and we will cry
My favourite part of Interiors has changed over the years. I used to really, really like it because of its funked up verses. I was into everything that even resembled funky and groovy at the time I first heard Everything Must Go (well I still love all that stuff but I’m not as obsessed about it) and naturally the verses, dominated by the grooved out bass line, caught my interest and attention immediately. These days I do still like the verses quite a lot, but the main part of the song for me now are the rest: the choruses and the solo. The slightly off-kilter, emotionless verses are replaced with elegiac, dovetailing choruses that embody the sort of bittersweet positivity that’s a mainstay of Everything Must Go’s sound, while the solo actually slows things down and offers a moment of peace and harmony of sorts in-between the rest of the music.
For a completely alternative take on the song, check the James’ acoustic solo demo on the EMG re-release bonus disc. It’s not a song that was created to be played with an acoustic guitar – much less soloed by one – but the weird, offbeat, scattershot demo version of it is… interesting, to say the least. James’ voice takes a rather different tone as well and the unedited lyrics cause him to forcefeed syllables into lines.
I know that in some weirdo objective sense (even if there’s no such thing in music) Interiors might not be the cream of the crop but it’s one of my own little personal favourites. It’s not a very mindblowingly awesome but I’ve taken a rather big liking to it over the years. One of my personal anchor points of the album.
Also, superb lyrics. And for those not in the know, Willem de Kooning was an abstract painter so this is one of those Wire character studies.