Interpol's rise to success came during the wave of indie rock that hit just before the democratization of fan culture ushered in with social media. Along with their peers, the Yeah Yeah Yeahs and The Strokes, Interpol were at the forefront of a dynamic New York music scene full of artists pushing back against corporate alternative rock. Since their debut 'Turn On The Bright Lights,' Interpol has stayed true to their brand of modern rock that once felt like a more decadent version of their post punk and shoegaze influences.

On the new album, 'Marauder,' frontperson Paul Banks settles comfortably back into his brooding persona for thirteen songs that will transport you back to when Joy Division and My Bloody Valentine where still major influences on emerging artists. Although he has experimented with his voice on his solo release and collaboration with RZA, he sticks to the delivery you expect on Interpol's sixth studio album. Maybe the band feels it's too late to change their formula after years developing their distinct identity.

The highlights of the new album can be heard on "The Rover" and "Number 10" with their angular guitar leads, propulsive rhythms and deceptively arty lyrics. Like their first releases, 'Marauder' has the sophistication of an album that was finely tuned in a studio, meticulously mixed, and mastered. Ironically the album might be closer to corporate sounding rock than anything they have previously released. The band worked with the highly credible and talented Dave Fridmann on 'Marauder,' but it's not clear if there were any drastic changes to their production process. The only thing missing is a banging pop hook that might elevate them to the ranks of contemporary mainstream acts. If you listen to the full album in one sitting, you'll hear that it is perfectly tasteful in it's pacing and production.

Interpol's new album, 'Marauder,' is out now on Matador records.

Resources

Interpol - Official Site