Record Label: Matador Records
Release Date: September 7, 2010
Parental Advisory?: No
It has been three years since Interpol's last album, 2007's Our Love To Admire, which met with mixed reviews that were far removed from the critical acclaim given to their previous albums, Turn On The Bright Lights and Antics, released in 2002 and 2004 respectively. Enter Interpol's newest album Interpol (released on Tuesday, September 8th).
The first thing that struck me about the album was the instant recognition that this is, in fact, an Interpol album. The recognizable haunting sound of the guitars on the opening track "Success" are distinct enough that even if I hadn't been the one to place the CD in the CD Player, I would have known that this was an Interpol album. The excitement for me fades by the time the "oo-la-la" background vocals begin on "Memory Serves". So only three tracks into the ten-track album, I, who bought $30 tickets to see Interpol live, was already feeling disappointed. What gives, right? Well, it seems that Interpol have truly hit dirt with this album, but not of the pay-dirt variety. They have steadily lost the gripping, dimly-lit, closeness-in-the-dark emotion contained on Turn On The Bright Lights, and the stunning, introspective-artfulness of Antics (go listen to "Lief Erikson" from Turn On The Bright Lights or "Take You On A Cruise" from Antics... I'll wait). Interpol seems to be grasping for something dark and elusive on Our Love To Admire and Interpol. I understand that as a band grows it has to branch out and explore other avenues, but just like listening to someone tell a joke, if the punchline isn't delivered properly the joke can crumble to pieces, and what Interpol has prepared for us here is missing a layer of ear candy sweetness to keep us listening.
There is some beauty on Interpol. I have always considered Interpol to be carrying the torch of post-punk revival, transmitters of a modern Joy Division aesthetic, and when they get the formula right, it is hard to forget. "Lights", the song released before the album came out through the official Interpol website, is the diamond in the rough. It draws you in with skittering guitar notes and a elegant piano melody that sounds like it may have been recorded in an empty cathedral. The song builds on this melody wonderfully and rewards you for your patience in making it this far with this weighty repeating chorus that is so great, it single-handedly reminds you why these guys are allowed to wear sunglasses indoors. It is a pitch-perfect Interpol track. As for the rest of the album, "Barricade" has such a great rhythm and sound, that you may just want to listen to that, and skip over the chorus. Hearing Paul Banks chant, "It kind of feels like a barricade / that keeps us away / keeps us away / and it kind of does", kind of makes you want to return the CD. Track 8, "Try It On" has some rock elements to it; a catchy chorus, palpable lyrics, and a steady drumbeat. It is reminiscent of "Slow Hands" from Antics or "PDA" from Under The Bright Lights, though it definitely feels like a more mature song than the others. There may yet be some gold to be sieved from the lyrics of some of the later songs, but knowing that there is no hook to be caught on makes listening closely more a chore than an experience.
After listening to the album, I went online to find out if Interpol were playing any shows close to where I live. That's right, I would once again spend money to see this band even after having my hopes dashed by their current release. Interpol may have missed the mark with Interpol, but going back and revisiting their other albums, I remember why I obsessively praised them back in the day, why I was right to do so, and why I will stick by this band until the bright lights overhead are finally turned off.
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