NEW MUSIC: Interpol – If You Really Love Nothing

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So far this is our favourite track from the new Interpol album. The record shows flashes of their early brilliance and though it doesn’t hold up across all tracks it’s well worth spending some time with these songs. ‘If You Really Nothing’ is Banks doing falsetto over trademark Interpol slashing guitars and tumbling drums.

NEWS: Interpol Announce New Album ‘Marauder’

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Interpol are back with their first album in four years. Marauder is set for release on August 24th on Matador Records / Remote Control Records.

“Marauder is a facet of myself. That’s the guy that fucks up friendships and does crazy shit. He taught me a lot, but it’s representative of a persona that’s best left in song. In a way, this album is like giving him a name and putting him to bed”Paul Banks

Today they’ve also shared the first single ‘The Rover’, an insistent and choppy run through a tale of a figure drawn to disarray.

Below you can also watch the Daniel Kessler, Paul Banks, and Sam Fogarino’s full press conference in Mexico City where they discuss the writing and making of the Dave Fridmann-produced Marauder.

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Interpol – Marauder

1. If You Really Love Nothing
2. The Rover
3. Complications
4. Flight of Fancy
5. Stay in Touch
6. Interlude 1
7. Mountain Child
8. NYSMAW
9. Surveillance
10. Number 10
11. Party’s Over
12. Interlude 2
13. It Probably Matters

NEWS: Interpol announce new album

 

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Interpol have released details of their new album titled El Pintor which will be out on September 8th via Matador. Below is a trailer video on the making of the album, their fifth and first in four years.

El Pintor:

01 All the Rage Back Home
02 My Desire
03 Anywhere
04 Same Town, New Story
05 My Blue Supreme
06 Everything Is Wrong
07 Breaker 1
08 Ancient Ways
09 Tidal Wave
10 Twice as Hard

 

FEATURE: Why So Glum?

by Chris Familton

In both popular and fringe culture the dark has been rising steadily over the last decade and it is showing no signs of retreating into the shadows. Fascination with death, ghosts, the dark arts and melancholy have always been important signifiers of all art forms yet this current trend in Hollywood movies and in many musical genres is tantamount to a gothic renaissance.

At the mass consumption end of the scale much credit must go to films like the Harry Potter and Twilight series for kicking off the current trend. They set the scene for the current popularity of TV shows like True Blood, The Walking Dead and American Horror Story with networks embracing death, blood, evil spirits and serial killers. If the theory of art reflecting society is anything to go by then the financial turbulence of recent years is surely a factor in the current popularity of these shows.

Musically the heyday, if not the origins of goth can be traced to the early 80s and bands like The Cure, Bauhaus, The Sisters of Mercy and Joy Division. Many of the groups dismissed the goth tag, much preferring to be called post punk as most emerged from the late 70s UK punk scene yet their music shared tendencies of claustrophobia, rumination on the dark and morbid side of the human psyche and with visual images that embraced very little colour there was generally a look to go with it. The sound those bands created has filtered through to acts of today, some thirty years later, whether it be the darkwave electronica of Light Asylum, Zola Jesus and Austra or guitar bands like Ceremony, The Horrors and Interpol. Most interestingly the cross pollination with synth pop, shoegaze and and dream pop has allowed new versions of the goth/post punk to emerge.

Every music scene is based on action and reaction so in this age of pop music where everything is increasingly saturated in synthetic gloss it is only natural that those with a disdain for manufactured happiness and more inclined to embrace melancholy will find music like this to suit their tastes.  Of course how we label any type of music and how we group its fans is just a symptom of how we like to categorise things but the fascinating thing about the current taste for the dark side is the extent to which it has permeated the mainstream and doesn’t look like giving up the ghost anytime soon.

this piece was first published in Drum Media

ALBUM REVIEW: Interpol | Interpol

written by Chris Familton

The new Interpol album appears at a definite junction in the band’s career. Over their first three records they gradually evolved a Joy Division, gothic indie rock sound from dark corners into widescreen epic gestures. One senses that Interpol heralds a re-stating of their intent, both with the name of the album and the singular theme of the artwork, focusing all attention on Interpol and the music. The other change within the band was bassist Carlos Dengler departing, an event that doesn’t have any bearing on the new album as recording had been completed prior to his leaving.

The immediate reaction is that musically things haven’t changed in Interpol land. From the opening notes of Success there are the recognisable signposts of Sam Fogarino’s martial drums, Daniel Kessler’s chiming, delay-driven guitar and Paul Banks stately vocal intonements. The song could really have appeared comfortably on any of Interpol’s previous albums.

If anything, a greater use of keyboards is the one minor development of their sound. They have employed them on earlier songs but perhaps a reluctance to always need a full time keyboardist on stage precluded their using them more. Now they have taken on board Secret Machines’ Brandon Curtis and fleshed out their sound with synth beds, ominous pseudo-strings, some ornate piano and twinkling electronics.

The rhythm section is still the driving force behind Interpol. With its precise, sparse and rock solid foundation the songs avoid descending into shoegaze washiness or directionless angst. The slow grind of Memory Serves subtly features rolling bass lines, stuttering punctuations and metronomic insistency while the following song Summer Well employs a four to the floor surge and some fantastic hi-hat intricacies from Fogarino.

First single Lights has been around long enough to already feel like a classic Interpol cut. Kessler’s guitar builds the tension with measured teasing before Banks brings the tortured soul with lines like ‘Don’t turn away and leave me to plead in this hole of a place” and “I want you to police me but keep it clean” continuing his themes of psychological strain, torn relationships and the enduring mysteries of love. When he repeatedly sings “That’s why I hold you dear” at the end of the song it highlights the shaft of sunlight he often allows to shine through on the shadowy scenes he paints.

Anthems have always been a key to Interpol’s success and Barricades fills that role wonderfully. Live this song will become an audience favourite with its uplifting motion and general danceability. For every big bold move Interpol always balance things out with a glacial ballad. Always Malaise (The Man I Am) is a synth-led slow burner that is all about mood and swirling elegance. They take things even further into gothic grandeur with All Of The Ways and its hazy smear of sonics that musically veers close to recent genres du jour like hauntology and witch house.

Kings of Leon made a misdirected swerve into the mainstream on Only By The Night and Interpol were perfectly placed to make the same mistake if they so chose. Thankfully they saw the light – or in their case, the dark – and worked with the same main ingredients that make them the band they are. Interpol will without doubt satiate the long term devotees but it doesn’t have the key moments that will lasso many new fans. Acceptance of what they do best – with some minor tweaks – is the right move at this stage of their evolution and they have done well to maintain the mystery and retain the dark drama and post-punk dynamics that is their calling card.

this review first appeared on Fasterlouder

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TOUR: Falls Music & Arts Festival and Sunset Sounds 2010 line-up…

photo | Jelle Wagenaar

We’ve hardly taken a breath and recovered from all the summer festivals when the announcements start coming for 10/11 festival season. The latest is the line-up for Falls Music & Arts Festival and Sunset Sounds which boasts some big indie names in The National, The Soft Pack, Interpol, Klaxons, Tame Impala, The Rapture, Cold War Kids, Sleigh Bells, Hot Hot Heat, he Morning Benders and many more…

Falls Music and Arts Festival and Sunset Sounds 2010 line-up:

Interpol

Joan Jett And The Blackhearts

The National

The Living End

Public Enemy – Performing In Full Their Masterpiece ‘Fear Of A Black Planet’

Klaxons

Angus And Julia Stone

Tame Impala

The Rapture*

Ladyhawke

Cold War Kids

Sleigh Bells

Peaches – DJ/Karaoke/Performance Art Set (!)

Hot Hot Heat

Paul Kelly

Ash Grunwald

Children Collide

The Beautiful Girls*

The Soft Pack

Dan Sultan*

The Morning Benders

The Cool Kids

Junip

Kitty, Daisy And Lewis

Marina And The Diamonds*

The Middle East

Cloud Control

Yacht Club DJs

Washington

Boy And Bear

Sally Seltmann*

The Bamboos

Tijuana Cartel

A-Trak*

Edan The Dee-Jay*

Vampire Weekend’s Chris Baio

Beardyman*

The Cuban Brothers*

World’s End Press

Casiokids

Dan Kelly

Daara J Family

Jamaica

Charlie Parr

Jonathan Boulet

The Jezabels

Big Scary

Last Dinosaurs

Sampology

Eagle And The Worm

Jinja Safari

Tim And Jean

The Public Opinion Afro Orchestra

*Falls Festival only

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