My relationship with Interpol has always been ambivalent. The American band has composed, especially in the early years of their career, some of the most beautiful indie rock songs in the history of music and their sound, thanks to some unique and very valid elements, is certainly one of the most recognizable and easily identifiable of contemporary rock. These guys from Manatthan have influenced masses of followers but at the same time, however, in their career they’ve done some missteps and their image has been stuck for too long between the idea of a niche group with ambitions of experimentation and avant-garde, and the desire, legitimate, to reach a more heterogeneous public. As a matter of fact this contrast is reflected in much of the band’s music and it affected, at different levels, some of their works, including the last album Marauder, which comes four years after the appreciable El Pintor.
From a musical point of view the sixth album released by Interpol contains a few songs of great interest and which are definitely enjoyable to listen (such as The Rover and Surveillance), but there are also a few tracks that result much less intriguing and somehow uninspired and not spontaneous.
Among the good notes we have – as usual – the performance of Paul Banks and Daniel Kessler, who are in fact the real essence of Interpol and also those responsible of that unique style that distinguishes this band from all the others. On the other side, the “sound” of the album is questionable. I share the same opinion of a few other critics who have highlighted that the recording and mixing Marauder have generated a very unconvincing result and the balance between the instruments is unpleasant, if not annoying.
The new album by Interpol is available for streaming on Spotify.