Interpol

It is difficult to find an article or review of Interpol that doesn't mention Joy Division. It's becoming very boring. Music journalism is filled with talk of influences and I'm never sure whether this is written from a genuine knowledge and love of music or so the writers can show how clever they are and to expose how derivative modern music can be.

At any rate, Interpol are three albums in now and deserve to judged on their own merits. This isn't to say that the band have moved a million miles from their original sound but a listen to their new album shows any Joy Division comparisons to be just a little lazy. Many fans out there are very keen to express what a good band they are live and I was lucky enough to see them in the UK a couple of years back. On an otherwise miserable evening at Crystal Palace watching Coldplay (don't ask) limp through a rain soaked set, Interpol provided excellent support. The fact is they are tight. Cutting a dash in their black suits (or vaguely military uniform in Carlos D's case) they played a perfect set. Each song played with punch, no sloppiness, and the kind of head nodding from the uninitiated that bodes well.

Some of my friends are a little non-plussed. Paul Banks may not have the range of other singers, and yes their music is of a type, but listen to the playing, listen to the depth of sound created by just four men. They have broadened slightly, especially with the new album and the addition of some keyboards. They have certainly developed a more commercially successful sound but listen to the last single Mammoth; that is no softening for the charts. Interpol are a band who have consolidated their position in a music climate which has seen other pioneers of the post-punk success fall by the wayside (The Strokes anyone?). It will be interesting to see where they go next. Not to mention what fashion style Carlos D chooses to resurrect next.


Untitled - from Turn On The Bright Lights

Not Even Jail - from Antics

Mammoth - from Our Love To Admire