Interpol- Interpol

Since their 2002 debut Turn on the Bright Lights, Interpol has made their name with prominent bass runs, haunting vocals and jarring guitar lines. Despite the sense of cacophony, they have established a reputation for rocking your moody world with electrifying choruses and dark tones. But after three years of anticipation, Interpol’s self-titled fourth album falls short.

The band maintains its signature far-off guitar sound and syncopated drum lines with the new addition of orchestral accompaniment and piano, which is paired elegantly in “Summer Well” with heavy guitar. Although this new twist makes the first track “Success” a success, the latter half of the album’s pile-up of orchestral chords and forlorn key changes sputters toward an almost comical attempt at climax.

The record’s most upbeat songs,“Barricade” and “Lights,” are fairly catchy and give the album promise, but soon afterwards, Interpol takes a turn for the worst. This happens sometime around when Paul Banks’ sardonic vocals become layered with organs and too many buzzing guitars.Bassist Carlos D’s decision to leave Interpol shortly after the completion of this LP comes as no shock once you hear the bass lines sucked under by waves of ominous guitar.

Interpol is fluid overall and has a beautiful arc from light-hearted beginning to sad end, but this effect leaves the listener with no real memory of any distinct song. By the close, Interpol has one toe over the line between epic and ridiculous.