The confusion started ...

... A few months so that Sam Fogarino, drummer of the band from New York, in the autumn of that year, a return to the roots of the band in prospect, singer Paul Banks, in turn, said that the new album would still orchestral, still be complex before than the previous one. Well-band polls are obviously not their thing - who has heard the fourth album, but know that they have somehow keep both right. Bassist Carlos Dengler incidentally then said nothing, but simply quit the service (which, interestingly, the focus from the current album a piece shifts far to the coming, because at present he has now, that's guaranteed, nor in charge worked). Now the bassist applies yes commonly not as style icon or instrumental for the creation of a tape. For a group like Interpol but whose sound is itself guided by a strong bass line in the ground scheme of this loss, however, more than remarkable and it will be interesting to see if the spare (David Pajo / Slint) found to close the gap in the coming period able.

As mentioned, the new album is a more indecisive, but it combines all the characteristics that over time have incorporated Interpol in their sound. So if, lifted the first album "turn on the bright lights" rightly among the fans of the first hour in unattainable heights, so when this album was dark and still uncut revival work, successor "Antics" the smoothed, tanzbarere followers and "Our Love To Admire "not exactly stingy three years ago with great complexity and often theatrical gesture, then is album number four at a crossroads and do not quite know which direction it is pursue.

As compared to its predecessor lacks the massive, exuberant pathos and stylish drama of such songs as "Pioneer To The Falls" and "Rest My Chemistry", so big you wanted it obviously did not do it again. But there are, and the like, no outliers down as the relatively weak trend "The Heinrich Maneuver" and "Who Do You Think?". A striking feature of the new items is also an unfamiliar lightness that adheres to many of the pieces, even the start with "Success" device not so gloomy and enigmatic as Untitled "or Next Exit", even when "Summer Well" and "Try It On" outweigh the rather milder chords. Naturally focus remains the gloom - had in shady minor and have Interpol still their best moments: slow, sluggish and not very happily sawed at "Memory Saves" in the background a guitar by's dismal picture, accompanied by the dull beat Fogarinos and Banks plaintive voice , The single "Lights" is growing in the context of the album to astounding size and fetches the things which they have not been able to show as expected overloaded first feedforward. Tons and deeply sad, the bass rolls and the action enjoys in its beauty the melancholy mood. Later joins the triumvirate still sad "Safe Without" added, with his hypnotic Eingangsriff, the blustering tinny percussion and oriental embellishments certainly one of the highlights of the album.

Can not ignore the parallels to the current song to Paul Banks solo release in 2009 under its former pseudonym Julian Plenti - to experiment and also internalized strange here presented itself to the sensitive frontman. Not a little of it can be found at the charming "Always Malaise (The Man I Am)" again, and also the closing "The Undoing" with its sparse arrangements and the Spanish text insets refers to Banks soulful self introspection, both fit in here well into the concept.

Ultimately, one can say that they indeed nothing more than human, but nevertheless Large succeeded with this album and who missed the surprise to be told that it can also be located in the high-quality continuity. Bands with approximately four equally good albums are sown more than rare in itself devouring Popzeitalter modern times. And although Interpol rise in summer with U2 on the boards and try to test the suitability of their music in new dimensions - they will not inherit Coldplay (want) and always remain a band of those who their dark and excessive pose and majesty appreciate.