Interpol’s first album since the disappointing Our Love To Admire and the last before Carlos D (he of the fantastic moustache) is replaced by Dave Pajo (he of the seemingly endless CV) sees Paul Banks and co. return to a form that is at least reminiscent of the band that produced one of the finest albums of the last decade in 2002′s Turn On The Bright Lights.

Not that they’ve tried to re-make their masterpiece, a criticism often made of the band in the past. While Interpol certainly shares the debut’s cohesion, the signs of departure are glaringly evident. Even for a band that seemingly evoke adjectives such as ‘epic’ at each and every turn, ‘Lights’ is uncharacteristically soaring, while ‘Memory Serves’ is Banks’ first unabashed love song not penned with his native NYC in mind, containing the refrain “I only try to make you smile” with a tenderness that his vocals are surprisingly suited to.

While the pacing of the record is undoubtedly its greatest strength there is, perhaps, a slight meandering in its second half. ‘Barricade’ only serves as final and definitive proof that the Interpol of the jaw-droppingly great singles are no more, while ‘Always Malaise (The Man I Am)’ takes the band’s emerging pre-occupation with keys a degree too far. The LP’s final two tracks are its most striking with the force and density on ‘All Of The Ways’ and ‘The Undoing’ providing the kind of atmosphere that if attempted by many others would result in a droning dirge. Here, it is equally haunting and hypnotic.

Despite the impression that all may not have been well throughout its recording, Interpol marks the end of an era for one of our finest bands in a fitting manner. Carlos D, irrespective of the rumours of his over-stated input, will be missed, but thankfully the ‘classic’ line-up managed a fitting return to form before their dissolution. Jonathan Bradley

1 2 3 4 5 6 7 8 9 10

KEY TRACKS: ‘MEMORY SERVES’, ‘THE UNDOING’, ‘LIGHTS’.
FOR FANS OF: BLONDE REDHEAD, SUGAR, THE NATIONAL.