For a long time I was unsure on how to pronounce this song’s name. I once thought it was the letter ‘C’ and then the word ‘mere’ which I knew didn’t make any sense. I thought it was a french term or something. That was until my sister told me that it’s simply “C’mere” as in “come here”.
Hi everyone. My iPod is back. For the third series. The Cs. It’s going to be a bumpy ride. But don’t be scared. Join me on this journey.
I believe this is the first Interpol song that I have “reviewed”, so let me just give you some details on how I started listening to them. You can find out about them for yourselves.
MTV2. That’s about it. I was nine/ten, and “Slow Hands” was playing. I had never heard anything like it before. Not just because it was the first time I had heard an Interpol song, but it sounded so mysterious and conveyed quite an eerie atmosphere. I would go on about how much I like it, but this is the post for “C’mere”; let’s talk about that.
“C’mere” was the last single to be released from Interpol’s second album “Antics” in 2004. I’ve never actually listened to the in full which is probably a major boo-boo, but I’ve always had the opinion that I never really have to because I already like the singles released from it. I’m digressing again.
“C’mere” is from the perspective of a man who has feelings for a girl already in a relationship, and basically figuring out how to get her for himself (Hence the term, ‘c’mere’). It’s a great track. In comparison to those like “Slow Hands” and “Evil” which are quite haunting, “C’mere” is one that you can just casually listen to, courtesy of Carlos Dengler’s wandering bass line and Paul Banks’ relaxing vocals.
Listen to it.
Jamie.
