Over the past five years the four dapper dons of Interpol have jumped from being New York local favorites to a globally respected band. They've accomplished this feat with a hardnosed work ethic - treading the boards of hundreds of venues, from Tampa to Tokyo - a flair for the dramatic, and two rapturously received albums of dark and deeply melodic rock (2002's Turn On the Bright Lights and 2004's Antics). They've graced magazine covers, inspired countless imitators, earned themselves Short List Award nominations, and enjoyed a rare kind of commercial success that has not once infringed on their effortless enigmatic quality. Every step they took seemed gradual, organic, and wildly successful. So why does album #3, the epic Our Love to Admire, feel like the start of something new? Blame vacation, for starters.
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Over the past five years the four dapper dons of Interpol have jumped from being New York local favorites to a globally respected band. They've accomplished this feat with a hardnosed work ethic - treading the boards of hundreds of venues, from Tampa to Tokyo - a flair for the dramatic, and two rapturously received albums of dark and deeply melodic rock (2002's Turn On the Bright Lights and 2004's Antics). They've graced magazine covers, inspired countless imitators, earned themselves Short List Award nominations, and enjoyed a rare kind of commercial success that has not once infringed on their effortless enigmatic quality. Every step they took seemed gradual, organic, and wildly successful. So why does album #3, the epic Our Love to Admire, feel like the start of something new? Blame vacation, for starters.
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The Independent
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