Album Review: Interpol - Interpol

This review has been a struggle. When Interpol self-leaked the track “Lights” for their fourth self-titled LP, I found it astonishing, making me reflect back to the grand moments that were found on their debut (and one of the decade’s best) Turn On The Bright Lights. Although they had never again reached that pinnacle in subsequent albums, I always felt Interpol was a strong band with a future of limitless possibilities. Their solid follow-up Antics containing powerful singles and no real clunkers, yet it missed the connectivity between tracks that makes an album great. Then came their major label debut, the uneven Our Love To Admire, where some songs stretched out for something great, while others lacked direction or lead singer Paul Banks’ lyrical attention. After their hushed hiatus, Interpol has teased the public with cryptic releases of information all year. Highpoints of their news feed include the tracks and tour dates where the public could finally get a taste of the new album, then jarringly stating the departure of bassist and fan favorite Carlos Dengler. Since the rollercoaster of information, the band member rotation and Interpol’s historical arc, we are left with the album itself. After listening multiple times and vacillating wildly on my opinions, I can say the following. It is a decent album, even great in moments. However, the lack of assurance and the feelings of incompleteness are worrisome and possibly telling. I now question the future of Interpol.

The self titled album Interpol is a tale of two sides, if you could still physically handle and flip over your listening material. Side “A” is substantial and unflinching, showcasing an assured band attempting to string together a story in their songs and lyrics. Side “B” is meandering and even dull, feeling forced, directionless and unfinished. Starting with the good news, Interpol begins with the slow burn of “Success” that pumps with kick drum, playful bass and upfront lyrics that reflect the steely confidence of the song’s title. “Memory Serves” is a romance novel in dramatic scope and sound, aching and sweeping across the listening landscape in a way that would come off more self-serving if it didn’t seem a little tongue in cheek. “Summer Well” sounds like a robust Antics outtake with another pulsing drum and bass combo that encourage the spirited twin guitar interplay. Finishing off the first half with the promising early releases “Lights” and “Barricade”, the beginning of this album on it's own would have inspired a definitive “return to form” review. My initial thoughts on "Lights" can be found here.

The next five tracks tell an entirely opposing story. A track sporting the name “Always Malaise (The Man In Me)” sounds so egocentric that the fact that it is merely a dramatically mediocre song is basically null. “Safe Without” and “Try It On” both lack in a focal point and, especially in the latter, tries to cram disconnected parts of what could have made a better song into a listless mix. As the final tracks “All Of The Ways” and “The Undoing” overlap each other, the effect is tantamount to driving headfirst into a brick wall. Plodding, histrionic and tiresome dirges are more than just a band that may be attempting an ode to a departed band mate. Where the beginning of the album was steady and effective, at the finish Interpol now seems like a ship approaching a distant, oncoming storm. They see it from far away, but are not quite sure of the next move to make to avoid extensive damage or even a watery ending. This opinion stems from a established fan of this band. I am someone who wonders aloud why this band gets disparaged for hi-jacking the sound of Joy Division, yet countless other bands can ape great moments in rock music history and get away with the “loving homage” label, but so be it. To this fan, the final tracks of this album feel all too...final.

I hope I am wrong. Enjoy the new videos and music.

Purchase the new Interpol album here.