(Photo Courtesy of Matador)If one thing can be said of Interpol, it is that it never strays far from the beaten path. In the case of many bands, this would annoy me, but like some of favorite groups, Beach House or Fleet Foxes for example, Interpol is a band that does its thing and does it well every time.
I usually like to watch bands progress, see the integration of new styles, complicate the tonal palates (a la Vampire Weekend or Youth Lagoon), but sometimes I’m thankful bands stay right where they are. I can happily say that Interpol, with the new album “El Pintor,” a crafty little anagram, has stayed within their comfort zone.
This release comes out of an indefinite hiatus announced after the band’s tour supporting their 2010 eponymous LP. Key band member Carlos D. had left the band after the recording was completed, tired of touring and playing the bass, and the album had not been warmly received by fans — neither of which helped paint the picture that Interpol was in good standing.
This June, however, it announced the new album, stating that lead singer Paul Banks had taken over bass duty. It was hard to tell if many people cared. Most fans were probably just hoping for a better album their last.
Personally, I disagree with the notion that Interpol slipped into a slump after 2007’s “Our Love to Admire,” the band's only record on major label Capitol Records. This stagnancy was interpreted as a loss of talent; many see “Interpol” as the end of a band that nearly hit the big time in the early 2000s.
Well, those people were wrong, and “El Pintor” proves that Interpol is still alive and kicking. Interpol hasn't changed, but the band also hasn't lost the charm that brought it to the forefront of the indie scene in 2002, following the release of the debut “Turn on the Bright Lights.”
“El Pintor” begins with the lead single “All the Rage Back Home,” a song reminiscent of earlier work, starting with Bank’s dark voice over a signature whining guitar riff and panning out into energetic chorus. Next is “My Desire,” which works itself into an impressive finish in which Bank’s voice sounds better than ever. These two songs could go hand in hand with songs from the 2004 “Antics,” the band’s sophomore album.
The album peaks halfway through with “My Blue Supreme.” Interpol seems most in control at this point. Drummer Sam Fogarino holds the tune together while Banks perfectly hits both highs and lows. Upon listening to this song, it’s clear that the band hasn’t lost any of its mojo.
Is this Interpol’s best album? No, but that's not a reason to lose hope. While I don’t think it is getting worse, I also don’t see any major improvements. Interpol is Interpol; always have been, probably always will be. This is something I accepted in 2007, and it’s most likely one of the reasons I still get a lot of enjoyment from hearing its new tunes.
Reach the reporter at wruof@asu.edu or follow him on Twitter @willruof
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