Tuesday, 21 September 2010

Review>>Interpol - Interpol

Interpol - Interpol (Co-op)
In the three years since the release of “Our Love to Admire,” the New York pessimists have suffered a dramatic downward turn in momentum, from what looked like a placing on the world’s main stage, resulting towards a belief that the band are starting again from scratch.

The self-titling of the new record will intensify those beliefs, whilst the loss of key bassist Carlos Dengler is a huge hole to fill. Fortunately, Dengler was around for the recording of the album and despite all the gloom surrounding the release, it means he leaves the band with them heading back to form.

Returning from a solo album under the guise of ‘Julian Plenti,’ front man Paul Banks’ distinctive, cynical vocals are again at the forefront of the band’s sound. This is particularly evident in Try It On, where he yearns for his love’s return, letting his emotions get the better of him through a bundle of expletives. All of the Ways, however, is the opposite; a cold and seething disgust evident in his vocals, as he demands “Tell me you’re mine.” On the album’s standout and most diverse track, The Undoing, Banks shows off his vocal range by breaking-out into Spanish mid-way, further deepening the gloomy outlook of the atmosphere, combining with the Church organs and brass background echo.

Banks isn’t the only standout, with lead guitarist Daniel Kessler producing several riffs that make him the key element in the band’s sound, for the first time in their back catalogue. In the album’s most mainstream sound, Barricade, Kessler’s guitar floats off in its own simultaneous direction, while the stomping drums imprinted in the chorus will make it a live favourite. In pre-album teaser Lights, Kessler’s guitar work once again leads the listener to their impending doom of the song’s brooding darkness; which brings rewards through repeated listens, whilst Safe Without is a classic riff gradually built up alongside a hypnotic emotion.

The synthesizers of Always Malaise (The Man I Am) wouldn’t look out of place in 1980s horror movies, whilst the bleak pianos lurk towards a cold and bitter winter ahead, with the robotic drumming of Samuel Fogarino culminating in a late surge in tempo. Dengler’s work will be missed as heard through the haunting, atmospheric bass of Memory Serves, the calm stroll in Summer Well and Success is Interpol at their menacing best, with the reverb guitar work complimenting the thumping build up of the bass.

On this evidence, Dengler will be a loss to the band; however they clearly have the flair to survive without him, suggesting a guitar-based sound coming to the fore.


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