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"  &amp;quot;Dangerous gentlemen.&amp;quot; That&amp;#039;s how Britt Daniel would describe the long line of British rockers who gave off an aura that was both devilish and debonair, whose suits and ties amplified their swagger. See: the Beatles, the Kinks, the Rolling Stones, David Bowie, Bryan Ferry, Elvis Costello, the Clash, the Jam. But in this interview, Daniel, the Texas-born lead singer and songwriter of the band Spoon, can&amp;#039;t at the moment come up with an American equivalent. &amp;quot;Maybe it&amp;#039;s something the British have cornered the market on,&amp;quot; he says.  Daniel, who once sang &amp;quot;I long for the days/ They used to say/ Ma&amp;#039;am and yes sir,&amp;quot; might be too well mannered to nominate his band as the missing link. At first, critics dismissed them as a Pixies knockoff, but 14 years and seven albums later, each one better than the last, they&amp;#039;ve perfected a sound that&amp;#039;s all their own: arty, unruly, soulful, sinuous, with flashes of glam rock&amp;#039;s arch elegance in a rumble with punk&amp;#039;s garment-rending immediacy. Dangerous gentlemen indeed. It puts discriminating female indie fans, the kind who think they&amp;#039;re above falling for front men, in serious danger of engaging in some objectification. Spoon&amp;#039;s latest record, Transference, is a darker and more anarchic effort, and a reminder that the reason for their ascendance might be Daniel&amp;#039;s talent for sneaking a strain of romanticism into ingenious, winningly peculiar arrangements that are unapologetically engineered to rock. There&amp;#039;s a lot of heart and a lot of mind at work, and Daniel doesn&amp;#039;t mind if his longing is showing. &amp;quot;I&amp;#039;m not really interested in putting on some kind of macho pose,&amp;quot; he says, &amp;quot;where being vulnerable doesn&amp;#039;t matter.&amp;quot; "^^<http://www.w3.org/2001/XMLSchema#string>
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