Interpol, 'Interpol'

Over the past eight years, Interpol, for me at least, have been without question the most important and consistent band currently releasing music. From the very beginning they have possessed an air of majesty and beauty that has became distinctly synonymous with the band, their 2002 debut ‘Turn on the Bright Lights’ being one of, if not THE, defining indie album of the decade. It can not be overstated just how great an achievement ‘Bright Lights’ is, with tracks such as ‘Obstacle 1’ and ‘Stella…’ showing a maturity and deftness of touch that many bands could only dream of capturing in their first outing.

However, when a debut of such quality is released it is inevitable that doubts will be cast over the band’s ability to follow it up with something of equal worth, with so many bands releasing greatly hyped and well received debuts, merely to fall by the wayside on their second offering. This is an obstacle which Interpol have consistently avoided with consummate ease, with both 2004’s ‘Antics’ and 2007’s ‘Our Love to Admire’ each developing on the qualities evident in ‘Bright Lights’ yet displaying a greater leaning towards epic, and at times cinematic atmospherics, culminating in ‘Our Love to Admire’s’ closer ‘The Lighthouse’, a track of haunting melancholy to rival any of Interpol’s previous work.

Understandably then, the three year wait for self-titled album number four has been a painfully long one. Surely Interpol would once again deliver an album to blow anything else from 2010 out of the water. Sadly, it is with a heavy heart I must report that with ‘Interpol’, the band for the first time, has failed to meet the high expectations they so regularly set for themselves with each release. An album of two halves, ‘Interpol’ begins with so much promise, yet around the halfway mark, gradually falls apart.

Album opener ‘Success’ sets the tone superbly, with the kind of grand production and typically introspective lyrics and delivery from Banks that usually mark the opening of each Interpol record. The album continues with similar promise in the form of ‘Summer Well’, a piano-led track which builds toward an infectious chorus. ‘Interpol’ then reaches its peak with two of the band’s finest moments to date. ‘Lights’ grows and swells in manner that echoes ‘The Lighthouse’, becoming even more haunting and spine-tingling with every listen, placing itself as a true masterpiece amongst the Interpol canon. ‘Barricade’ also finds the band hitting their stride, boasting a deceptively catchy guitar hook and a magnificent Banks vocal as it reaches the chorus. In fact, ‘Barricade’ holds many of the components that could have made ‘Interpol’ a far more enjoyable listen, as from this point onwards the album opts for a more subtle, atmospheric direction.

The results are somewhat frustrating, as many of the tracks lack the edge evident in both their previous works and indeed the first half of the album. Although they aren’t bad, they certainly aren’t anything to get too excited about. ‘Safe Without’ tries its best to find a hook or a tangible thread for the listener to grab onto but ultimately ends up sounding just a bit dull. Similar symptoms of tediousness are present in ‘All of the Ways’, trying its best to replicate the mood of ‘The Lighthouse’ but falls well short, feeling laborious and forced at over five minutes.

Although ‘Interpol’ is clearly not quite the album I had hoped for, it still has enough great moments to ensure that old and new fans alike will be satisfied. Its highlights are more than capable of holding their own against classics from Interpol’s near faultless back catalogue, indicating that there is still a wealth of potential for even more to come from this extraordinary band.