Interpol

Description

Author: Interpol

Release Date: 07-09-2010

Details: You can always go home again, and so after one lap around the Capital Records track, Interpol returned to Matador Records for the release of their fourth album, a self-titled offering released Sept., 2010. The album INTERPOL finds the New Yorkers exploring dark musical landscapes of layered depth and intensity. In contrast to 2007s Our Love To Admire, this self-titled opus hangs together as an album, a set of very different songs that thematically connect. »The new record falls back towards the first, » drummer Sam Fogarino told Paste Magazine recently. « In trying to move forward, there was an unspoken realisation that you cant let go of your sonic defining tag. There was an effort in Daniel [Kessler]’s guitar tone; he rediscovered it playing in his loft space for a year without anybody. The quality of that tone, played in a big room, is just beautiful. It creates an atmosphere.That big wash of reverb? It’s back. »Artist And Album InformationFrom the highly melodic Barricade and Lights through the snarling Memory Serves and the extraordinary triptych of connected tracks that close the album, Interpol have never made work this emotionally resonant or packed with crescendosMixer Alan Moulder has brought the rhythm section back to the fore, anchoring a thicket of orchestral sound that brings to mind touchstones from black metal to 70s art rock, but always remains identifiably Interpol. Hypnotic, bizarre, always indelible, Interpol is the bands magnum opus.Although formed during the late ’90s, Interpol rose to international attention in 2002 as part of New York City’s post-punk revival. The group took its cues from Joy Division and the Chameleons, fashioning a darkly atmospheric sound helmed by intricate guitars and Paul Banks’ somber baritone. Interpol also had a striking visual presence marked by the members’ fondness for suits, which only strengthened their stately, British-influenced appeal. Nevertheless, the band remained rooted in America, where guitarist Daniel Kessler and drummer Greg Drudy first struck up a musical partnership while attending New York University. Carlos Dengler, another NYU student who had previously played guitar, joined as the group’s bassist — and by sheer coincidence, Kessler later bumped into Paul Banks, a guitarist/vocalist whom Kessler had spent time with in France. Having settled on an initial lineup, Interpol became a fully active band in 1998 and began issuing a series of 8-track recordings. After the band’s first gigs in early 2000, Drudy vacated his position and was replaced by drummer Sam Fogarino.Regular appearances at New York venues like Brownie’s and the Mercury Lounge helped endear Interpol to local audiences. Meanwhile, a brief U.K. tour in April 2001 was punctuated by a radio session for John Peel’s BBC program which expanded the band’s audience overseas. 2001 also saw the band releasing its third EP, Precipitate, and appearing on the compilation album This Is Next Year, a double disc set of Brooklyn-area acts. Matador Records signed the band in early 2002; by the end of the year, the independent label had issued both a three song single and the band’s debut LP, Turn on the Bright Lights. The album turned Interpol into a successful indie rock act, providing further proof that New York City had become a hub of marketable post-punk revivalism in the early 21st century.

UPC: 744861094524

EAN: 0744861094524

Languages: English

Binding: Audio CD

Item Condition: UsedVeryGood