Consider Interpol indie rock’s overlords of sustained drama. Since debuting in 2002, the New York cool kids have built upon their penchant for big, spooky anthems shaded with opaque romanticism, intensifying their brooding aesthetic with each new album. It has been four years since the band’s eponymous fourth LP, and the question still lingers: How long can it maintain its sexiness in the bleak world it has fashioned for itself?
With El Pintor (an anagram for Interpol), the group keeps the vibe alive, and given the circumstances, that’s no small feat. Mixed by Alan Moulder (Smashing Pumpkins, Nine Inch Nails), Interpol’s fifth set is its first since the departure of Carlos Dengler, a downtown dandy known for his ace bass skills and flamboyant style (his trademark shoulder holster was practically the band’s fifth member). But his absence leaves smaller a hole than expected. In fact, the group sounds more invigorated than ever, trading its misty mood pieces for dark, driving rockers. “All the Rage Back Home” starts slow and cold before frontman Paul Banks, killing on bass, locks in with drummer Sam Fogarino and churns through the ice. On “Same Town, New Story,” twin guitars engage in a playful dance. “No solemn moods,” sings Banks on the springy “My Desire.” “All of us are teammates.”
They sure are. Though down a member, the band digs deep and reasserts its vitality. El Pintor has all the thrills and chills of classic Interpol served up with extra urgency. Banks the poet rages, retreats and lets his heart swell. Most importantly, he preserves the air of mystery so essential to Interpol’s being. He’s got no choice – it’s what these guys breathe.