Boomkat Product Review:
Now lodged somewhere towards the upper echelons of American indie rock aristocracy, Interpol deliver their fourth album, their last with bassist Carlos Dengler. Usually when a band releases an eponymous album that isn't their debut offering it denotes some sort of landmark or creative milestone for them, and if that's to be the case here, on first listen it seems that Interpol (The Album) is less a radical makeover and more a maturing of existing tendencies within the group's music. The early highlights here tend to occupy a midtempo, very morose setting: 'Memory Serves' is a strong enough second track, but it lacks real energy, instead offering a slow-burning high. Accordingly, 'Summer Well' only reveals the fullness of its charms during an uplifting final furlong. It's worth sticking around for, and correspondingly, the double-header of 'Lights' and 'Barricade' makes for a strong (if not entirely instant) transition into the middle of the album. You can hear Interpol stretching their range on songs like 'Always Malaise (The Man I Am)', transporting their familiar writing formulae into more widescreen formats, an effort that comes to a worthy and fittingly decadent climax on 'The Undoing', whose expansive, gothy feel is given real gravitas by mock-classical harmonic interchanges and an imperious brass/synth arrangement.