The Observer, September 21, 2007
Volume XL, Issue 4
Interpol's third album is one to be Admired
Since their 2000 debut, Turn on the Bright Lights, Interpol has been catapulted into indie rock stardom. Painted on a canvas of brooding atmospherics, Interpol made their sound reflect the cryptic mystique of New York City. Their next release, Antics, played much lighter while crafting a new sound. The good news is that fans of each unique album will find something to appreciate with their latest release, Our Love to Admire.
Interpol's move to major label Capitol Records is readily apparent, with high production values and vast orchestration that are noticeable over Paul Banks' baritone vocals. The opener, "Pioneer to the Falls," does not disappoint with a dramatic synthesizer and tremolo guitar crescendo. "No I in Threesome" is a light-hearted romp that appeals to fans who preferred Antics. Carlos D's dexterous bass lines (which sadly go understated in this album) lead the way as Banks ponders over his sexual misadventures. On "The Scale," Banks scornfully admonishes, "I made you, now I take you back." The only complaint with "The Scale" is that it has much more potential to jam out longer (like "The New" off of Bright Lights).
The lead single, "The Heinrich Maneuver," is directed toward mainstream audiences. It is familiar Interpol, frighteningly similar to earlier singles "PDA," "Slow Hands," and "C'mere." If the album has a low point, perhaps it is here where it feels like the band is going through the motions. The heavily orchestrated "Mammoth" makes a quick start afterward. Sam Fogarino's tight drums keep a fast beat that propels this song as a strong lead-up single. The record slows down with the ballad "Pace is the Trick." Following their past ballads, "Pace is the Trick" is the album's strong, atmospheric, remorseful slow jam. Banks' uncharacteristically mellifluous voice states, "You don't hold a candle…" over Kessler's signature resonating arpeggios.
"All Fired Up" is oddly reminiscent of The White Stripes, but holds its own after a few listens. It quickly becomes an understated favorite, with arrogant lyrics over hard-hitting guitars and a furious rotary organ. By this time, it is apparent that this album has its unique place as a darkly candid confession in their discography. Next, pianos fade in with the haunting "Rest My Chemistry." Despite the drugs and sex so prevalent in the rock-star lifestyle, here Banks is grappling with an ethical struggle.
"Who Do You Think?" jumps face-first into a full indie jam, ditching the atmospherics for straight-up rock and roll. The song is a fun one that mixes the right parts of the Bright Lights and Antics formulas. Soon, the atmospherics are back in full-effect with haunting background vocals on "Wrecking Ball," a love ballad that is something new for the band. The song whispers quietly away with reversed vocals over a wide soundscape. The closer, "The Lighthouse," is completely different. Mariachi guitars play behind bare vocals until igniting into booming orchestration. While the five-minute song isn't one that's constantly listenable, it's an apt and appreciated closer.
Interpol's third album doesn't compare to their debut, but it certainly holds up on its own. The band has created a strong new sound while broadening their horizons both musically and lyrically. Unlike their past two albums, Our Love to Admire is understood when listened to as a whole and written as an album from the start. The album doesn't disappoint, but the expected three years until the next album will be a long wait.
