The boys from NYC have done it again.
Plush, dramatic, dark, haunting, heavy, desperate, engaging … you get the picture.
Interpol’s fourth and self-titled album hits all the marks that made them a household name (at least in those with an indie bent) in 2002.
Comparisons to Joy Division, Bauhaus, The Cure and many other O.G. (read: Original Goth) bands continue to abound. However, we do see growth and maturity. On Interpol, Paul Banks and crew have brought the keyboards which held a more prominent role on their last release, Our Love to Admire, forward and incorporated them nicely into song structures more in tune with their debut album, Turn on the Bright Lights.
The 10 tracks move quickly, clocking in at a little more than 45 minutes and seemingly follow the trajectory of a failing relationship. Even on the sunniest of days, Banks’ lonely vocals in conjunction with the subject matter and overall plodding nature of this album will have you questioning your own existence and crying for the security of your mother’s embrace.
Interpol also marks a return to Matador Records, where the band cut their teeth from 2002 to 2005 before making a brief jump to Capitol Records. Sadly, this album is bassist/keyboardist Carlos Denglar’s last effort with the group … at least for now. It has been reported that Denglar quit the band shortly after its completion to focus on personal projects.