Interpol - Interpol

4.0

4.0 (1)

The broody post-punk rockers from New York City are known for their rolling bass lines as much as for their dark and quite snazzy suits and offer up something pleasing to fans of both with their latest eponymous album.

Interpol released their critically acclaimed debut album, Turn On The Bright Lights in 2002, amid all the hyperbole the music press could muster, and subsequently got quickly and heavily compared to bands such as Joy Division while leaving their mark on the so-called post-punk revival scene…fast forward eight years and two albums later (2004's Antics and 2007's Our Love To Admire), they are down to a trio after bassist Carlos D left the band and they are back on indie label Matador Records (from major label Capitol) releasing their fourth album, aptly titled Interpol.

Opening with the upbeat, yet majorly-moody 'Success' which sets the tone in a familiar territory – lyrics exploring topics of identity, failure, fears and duality and a sound which is neither haunting (as in their older material) nor completely jovial (it's Interpol after all!); but it falls somewhere in between, with the band seemingly trying to reinvent their approach without completely changing it. The production on this album sounds

Within the ten songs comprising the album, a story is being told through varying tempos and styles – from the catchy hook on 'Summer Well' to the indulgent piano-driven ballad 'Always Malaise (The Man I Am)' the subtle contrast is layered intricately to make a well connected album. As the album moves along, it gets both exciting and introspective through combining the 'classic' Interpol sound with more inventive ideas.

INTERPOL - 'BARRICADE'

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