Others saying maybe those folks should wait to hear the album in its entirety before rushing to judgment. We’ve had people commenting on a perceived lack of hooks. You’ve heard a bunch of it - albeit some of it live and others via a rotten leak - so you know that. Interpol is an understated, staid record.
There’s definitely been a goth explosion in 2010, but those bands are referencing Joy Division, Echo & The Bunnymen, and the Chameleons (wait, has your average chillwaver heard the Chameleons?) in more dressed down, dirty, idiosyncratic, punk ways. More than ever, folks are inventing insular stay-at-home genres that flourish on the backs of one-person bands. More importantly, Interpol are bringing their post-punk revival into a world that looks quite different than it did in 1997 (or even their 10th anniversary, 2007). As seen on Letterman, he’s been replaced by ex-Slint/current jack-of-all-bands player Dave Pajo. The thing is - even in the midst of a music industry that’s using reunions as a life support system and would want you to think otherwise - you can never go back.įor starters, Carlos D - one-time Downtown stud/gossip fodder/fashion plate - plays bass on these 10 tracks, is gone in real life.
They have no need for a fancy/eye-catching title: These are the same guys, Interpol, who popped up in NYC in 1997 with their downcast, uplifting post-punk revivalism. Considering the details surrounding Interpol’s self-produced self-titled fourth album, their first since 2007’s Our Love To Admire, it’s safe to assume that in some way or another it was intended to be a return to their early form.