Culled from last year’s Marauder sessions with Dave Fridmann, there’s still a sense that the production actively tries to disrupt what Interpol does well.
Interpol’s brilliance comes in sparks these days. Every album after 2007’s Our Love to Admire, when they stopped being a fascination of indie culture writ large, does have a couple of straightforward thrillers on them. Even their self-titled record’s “Barricade” might stick if you let it. “The Rover” was fine, too, although the album it was on, last year’s Marauder—a loose concept album about saying goodbye to the band’s heyday in the early aughts—was less so.
