Interpol

Our Love To Admire

[4.5/5]


In spite of its lengthy percolation period and the major label ascent that accompanies it, Interpol’s Our Love To Admire eschews every association one might expect of a lesser band’s third album (difficult, redundant, Icarusian), instead almost perfecting Interpol’s already-pristine aesthetics while expanding their sound ever-so-slightly. As with so many classic albums, it’s apparent from Love’s first notes that something transcendent and fiercely magical is about to unfold. And as the slow-thawing frost around “Pioneer To The Falls” melts away, its hair-raising call to solidarity leaves few musical stones unturned-and no soul untouched. From Daniel Kessler’s slicing hooks (“Mammoth”) to Sam Fogarino’s uncannily articulate drumwork, Love’s stride never breaks. Bassist Carlos Dengler’s alternately austere and ethereal keyboard and piano ellipses further illuminate the drama behind Paul Banks’ sable baritone. Banks’ acumen is especially enduring, his entendre-laden poetry as romantic, precise and intriguingly referential (note the overt Morrissey allusion on “Pace Is The Trick”) as anything from the band’s past triumphs.
The nod to Mozzer-not to mention the curiously arresting artwork and coy song titles (“There’s No I In Threesome”)-suggest Interpol are not through cultivating their own at-times enigmatic mythos. But whether the love they sing of (or for) is real or imagined; shared, unrequited or as-yet-unsought; the sheer diligence and finesse they’ve nurtured into these rich evening anthems is as undeniable as the talent with which the songs are delivered. That, ladies of gentlemen, is something worth admiring. (CAPITOL) Tristan Staddon

ROCKS LIKE:

Joy Division’s Unknown Pleasures

Editors’ An End Has A Start

The National’s Boxer

IN-STORE SESSION

With guitarist Daniel Kessler

You got your first extended time off in years when touring finished for Antics. Was the chance for a little self-reflection a luxury or a curse?

It really wasn’t as much time off as it might seem. We played our last show in October of ’05, but then we reconvened in January ’06 and started writing until October ’06. And then we started recording. But it was nice to wake up and not have to travel anywhere.

With that much time spent writing, what’d you do when you weren’t concerning yourself with music?

It’s hard for me to completely separate myself. And, you know, you’re in one place. So I kind of kept up with music and thought about it and continued writing songs. Once you’re at home, it’s actually quite pleasurable to work on tunes in your home environment. I have also been learning to play the piano for the past year or so and it’s really [a] different beast for me because I’m a self-taught guitarist. I don’t really think in terms of notes when I’m playing the guitar-it’s more about a sensibility and whatever feels right.

Did any of these songs begin on the piano?

No, I haven’t actually integrated my education on the piano into the band just yet. This record has a lot more keyboards and orchestrated sounds, but that comes from Carlos [Dengler]. One thing about this record, though, is how early they came in [during] the songwriting process. In the past, we’d write the songs, the four of us, for two guitars, bass and drums. Here, we had a sequencer with a keyboard trigger that would send out sounds that we could incorporate into the songwriting process. It was almost like having a fifth member.

Paul Banks often analyzes and adjusts his parts right up until you enter the studio. Do you operate in a similar fashion?

Playing an instrument, you do things subconsciously. Things just happen. Paul’s also got the vocal world, which I can only sit back and admire from afar, where you have to be very conscious of “This is what I want to express.” I kind of walk around and mull over the songs. You just kind of know when it feels right. And when it doesn’t feel right, you feel very unsettled. You kind of grimace and play the song over and over again, but if it’s not coming alive the right way, it’s really hard to come to terms that that’s the way it is. Usually when that happens, you go back and revisit it. We did that on this record. I know a year from now I won’t remember the parts we went back for, but that’s a part of how you end up going, “This is the right record. This is the record we intended to make.” Tristan Staddon