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"Marauder" Interpol

by Joseph Massaro | Campus Talk Editor
Tue, Sep 18th 2018 03:00 pm

Let’s face it, Interpol hasn’t been the same band after its key founding member and bassist, Carlos Dengler, left the band in 2010. Since then, Interpol has released a couple of mediocre albums, including the group’s atmospheric, dark, self-titled album in 2010 and the safe returns-to-form “El Pintor” in 2014. However, given the sound of its new studio album “Marauder,” Interpol has redeemed itself, releasing its most solid and consistent album in 11 years. 

During its 15 year anniversary tour for its superb and beloved debut album, “Turn On the Bright Lights” in 2017, Interpol officially announced a new album would be released in 2018. The band played a new song entitled “Real Life,” late during its tour, which ended up being scratched from the final cut of “Marauder.”

Since the band was implementing its classic “Joy Division-esque” sound on the anniversary tour, it tried to bring back its original style from the noughties with producer, David Fridmann.This is the person responsible for the sounds of the Flaming Lips and MGMT. An odd choice for a producer indeed, since Fridmann hasn’t really dwelled in the realm of the post-punk revival style and the bands he’s produced albums for share little in common with Interpol. 

Interpol best captures its early style on the single, “The Rover,” which opens with a sharp and swingy single-stringed guitar, sounding like it could’ve been from the band’s excellent sophomore release, “Antics” in 2005. When the music finally all comes together, there is an overlaying of guitarist, Daniel Kessler’s stylish and distinctive riffs, all chaotically united. One, sounds like the sparkling and fast-paced riff from “Say Hello to the Angels,” a classic off “Turn On the Bright Lights.” Under the catchy hooks and booming and spiraling drums, frontman, Paul Banks’ vocals are full of energy. This is the track Interpol fans have been waiting for; chilling and attractive music with unapologetic lyrics.

“Stay in Touch” is an instant classic that is unpredictable and compelling, while the soaring “NYSMAW” shares a similar melody and darkness to “Mammoth,” which is off Interpol’s 2007 release, “Our Love to Admire.”

However on “Marauder,” Interpol runs into a few problems: its repetitive and unfocused instrumentation, the nonexistent bass lines and mixing choices. For example, “It Probably Matters” sounds perfect after “Interlude 2,”  but it is nowhere near a closing track.  

Still with its best release in years, Interpol is finally itself again.