More about: Interpol

There’s just something so addictive and iconic about Interpol’s dark, baritone sound. With a collection of already legendary records, they’re rightly regarded as one of the most celebrated guitar band’s this millennium.

Why is that? Well, Interpol take the music of ‘70s/’80s bands like Joy Division, The Cure, The Chameleons and Television, and put their own spin on a classic, brooding template. The end result is a rich indie rock sound that’s both contemporary and timelessly cultured, inspiring so many others in the twenty years that followed their debut (The xx, Editors and White Lies, amongst others).

Now seven studio albums and twenty years into their career, Interpol show little sign of faltering just yet. Here are 10 tracks that map the story of New York’s finest moody rockers.

1. ‘Untitled’ 

If The Strokes were the hopeful sound of New York post-9/11, then Interpol were the perfect soundtrack to its darker, reflective aftermath. Despite the contrast, it was the initial success of The Strokes that shone a light on the burgeoning New York indie rock scene in the first place with Interpol, of course, becoming one of the first bands to take advantage. Gaining prominence in Manhattan’s Lower East Side at the start of the century, debut ‘Turn On The Bright Lights’ emerged in August 2002 to critical fanfare. This was especially so in the UK where Britpop was long dead and nu metal was slowly in decline. The tide was turning in favour of a guitar scene with a little more depth and, as a result, indie music publications were quick to jump on the band to praise their brooding guitar sound.

From the moment those opening guitar notes hit, ‘Untitled’ couldn’t have provided a more chilling start to the New York band’s debut album - it’s difficult to stop those neck hairs rising every time! The song paints a melancholic soundscape to accompany a brief tale of Paul Banks’ surprise loyalty to a lover he’s hurt in the past. “Oh, I will surprise you sometime, I’ll come around, When you're down” declares the singer, channelling the pain of his ‘80s rock ‘n’ roll heroes. Fans of Friends will also recognise it as the song played when Joey finally makes his feelings known to Rachel in season 9 of the iconic comedy series (Episode 24: ‘The One in Barbados’)! This is Interpol at their atmospheric and despondent best.

2. ‘stella was a diver and she was always down’ 

Over the years, Interpol have become infamous for their unconventional character narrative tracks. One of the first we were to hear was 'stella was a diver and she was always down', an eerie tale of a flawed drug-addict called Stella who we are left to assume was a prostitute. It’s told from the perspective of a male protagonist who had numerous sexual encounters with her, recognising a depression to her demeanour

Filled with innuendos and double meanings throughout, the song reflects on the sadness of Stella’s death by suicide. “She was all right 'cause the sea was so airtight, she broke away” croons Paul Banks in the chorus before coming to regret her painful drowning demise. A poignant story executed perfectly by Daniel Kessner’s melancholic riff and Carlos Dengler’s jazzy bass-line. From ‘stella…’, through ‘Roland’, ‘The New’ and ‘Leif Eriksen’, Interpol’s debut departs on an unrivalled, spine-tingling high, leaving the listener utter enthralled and ready to hit play to hear it all over again!

3. ‘Evil’

Back in the early-mid ‘00s, having your song appear on the soundtrack of teenage-drama The O.C. was a badge of honour for any indie band – even if they may have denied it at the time! This acclaim was to happen to Interpol in Season 2 of the Californian show (episode 10: ‘The Accomplice’) with ‘Evil’, introducing the band to a younger, more mainstream audience. Such a high profile feature also mirrored their rapid growth in popularity following the release of ‘Antics’ in September 2004 and ‘Evil’ would become the second single to be released from it.

Despite today being Interpol’s most recognisable song – carried, of course, by Carlos Dengler’s distinguishable bass as well as more laid back guitar tones - and best charting effort - number 18 in the UK Singles chart, no less - fans are often surprised to learn that ‘Evil’ is actually about English serial killer couple Fred and Rosemary West! A live favourite which draws instant euphoria upon hearing that famous bassline and opening words “Rosemary, heaven restores you in life…”.

“Initially, Interpol were lumped in with The Strokes”, recognises Matador Records publicist Nils Bernstein in Lizzy Goodman’s 2017 book ‘Meet Me In The Bathroom: Rebirth an Rock and Roll in New York City 2001-2011’ , “…and when ‘Antics’ did as well as it did, suddenly at every show there would be these A&R guys from big labels snaking their way backstage”. Following the albums success, soon everything was about to change for them.

4. ‘Not Even Jail’

Radio-friendly tunes like ‘Slow Hands’, ‘C’mere’ and ‘Evil’, saw Interpol’s ‘Antics’-era approach a slicker garage-rock sound and produce more accessible hooks for their sophomore album. The critics were already won over and the public were about to be too - mainstream success was on its way. Between 2004 and 2005, Interpol songs suddenly appeared everywhere, from TV soundtracks (Veronica Mars, Greys Anatomy, The O.C.), video games (True Crime: New York City, Major League Baseball 2K6) to high profile television appearances on both sides of the Atlantic (The Tonight Show with Jay Leno, Later with Jools Holland). They even caught the attention of U2 frontman Bono who asked them to support his band on their 2005 ‘Vertigo’ stadium tour. Success was dramatically following the band and, before long, big labels were to pounce.

Despite this, it’s the intensity of meandering album track ‘Not Even Jail’ that was to leave the longest lasting impression on their second album. The lyrics themselves, whilst hard to decipher, are anxious-filled and ominous (“I promise to commit no acts of violence / Be it physical or otherwise…”). The punchy bass and Kressner’s spine-tingling riff also combine to create a claustrophobic album high point to contradict the album’s lighter, radio-friendly moments. A true Interpol fan’s favourite!

5. ‘Pioneer To The Falls’ 

In 2006, Interpol signed with Capitol Records following the expiration of their contract with New York independent label Matador Records. This created shockwaves in the indie scene at the time due to the band’s close association with Matador, not least by the label themselves who felt a heavy sense of portrayal at the departure. “By that point we were the only band left on an indie”, defensively reveals frontman Paul Banks in ‘Meet Me In The Bathroom’, “all these super-hip indie bands were (now) on majors”.

Whilst there were muted sell out criticisms from their growing fan base, any worries that their credibility would be lost through this transition were squashed upon the hitting of play on ‘Our Love To Admire’s’ opening track. Interpol love an eerie opener and ‘Pioneer to the Falls’ goes next level brooding. Daniel Kressner’s ominous riff is horror-like in its execution, echoing the atmosphere of ‘Untitled’ from their 2002 debut. The sparse pianos and string support provides it with that extra layer of epic-ness to ensure it’s now recognised as one of the band’s most loved tracks.

6. ‘Rest My Chemistry’

“Tonight, I’m going to rest my chemistry” defiantly repeats Paul Banks, revealing his battles against drug addiction and inner conflict. These were issues the Interpol frontman has spoken about in detail following the band’s early success and he decided, in turn, to go down a more personal road on this brilliant album track. A haunting piano slowly fades into being before an uneasy crash of drums and guitar, Daniel Kressner’s regretful riff also playing equal fiddle to a tale of lost innocence.

‘Rest My Chemistry’ initially went under the radar due to ‘The Heinrich Manuever’, ‘No I in Threesome’ and ‘Mammoth’ being the three singles released from their third album and first major label release ‘Our Love To Admire’. However, over time, it’s become a live favourite and currently stands as their second most streamed song on Spotify (72 million listens to date). A beautifully epic and melancholic song.

7. ‘Barricade’

2010 was definitely an eventful year in the year of Interpol. Their fourth album would be the last record to feature iconic bassist Carlos Dengler who was to leave shortly before its release to pursue a career in acting. Also, just before the release of ‘Interpol’, they decided to split on their two album contact with Capitol Records and return home to independent label Matador Records.

“All the great staff that signed us to Capitol…they got fired” revealed drummer Sam Fogarino in ‘Meet Me In The Bathroom’, “mid-way through the ‘Our Love…’ album cycle they’re gone”. Without a network of support, Interpol quickly found themselves isolated and regretting their major label move. By the next album release, the return to Matador was inevitable, though they’d still need to heal the wounds with their friends at the label for leaving in the first place.

Their fourth record is arguably their least loved to date and this is recognised by the lack of numbers Interpol play from it on tour dates. However, lead single ‘Barricade’ is its most memorable moment thanks to its percussion-heavy sound and extended build up which introduces a familiar tale of anguish!

8. ‘All the Rage Back Home’

‘All the Rage Back Home’ is the opening track and lead single from Interpol’s fifth album ‘El Pintor’. Following mixed reviews of 2010’s self-titled album, it was important that their next release provided a punchier impact and this is something they achieve here, reaching a perfect contrast between melancholia and euphoria. Paul Banks has even described the chorus to the song as one of the band’s “smoothest” (“I keep falling, maybe half the time, maybe half the time, But it's all the rage back home”).

“When we play that in a room together, I feel like my feet raise off the ground a couple of inches” the frontman would later reveal of the track in an interview with Rolling Stone. There are many sides to Interpol’s sound; dark, emotional, brooding, and in this case, euphoric warmth - even if it’s lyrical theme is about a complicated romance. The release of ‘El Pintor’ quickly followed and many music publications marked it as a return to form following their brief ‘Interpol’ album lapse.

9. 'The Rover'

In 2017, Interpol celebrated the 15^th anniversary of ‘Turn On The Bright Lights’ with a celebratory tour of their debut album. Rather than resigning themselves to heritage act status, we only had a year to wait until their next musical output. Interpol quickly proved they meant business again with ‘The Rover’.

The lead single from ‘Marauder’ is amongst the bands most breathlessly pulsating songs and another character study, this time taking aim at a doomsday preacher character. Sam Fogarino’s drums lead the track, complementing the droning bass and Daniel Kressner’s frantic riff. All in all it achieves the desired “California West” sound the band were striving for. Reviews of their sixth album were generally positive and this success was rewarded with an extensive headline worldwide tour and appearances at a host of international festival appearances such as Glastonbury, TRNSMT, Open'er, Primavera and Lollapolooza. By 2018 it was clear that they were rightfully being greeted as indie legends in their own right and it was difficult to argue at their enduring popularity.

10. ‘Toni’ 

“I'd like to see them win, I like the inspiration, like it's going in the right direction,” sings Paul Banks on ‘Toni’, the lead single from their seventh album ‘The Other Side of Make-Believe’. It’s the introduction to a record more sonically light and hopeful. Written during lockdown, the band decided that it would be inappropriate to produce another dark record, instead opting to inspire and create something more positive.

With the guitars muted in place of piano lines, ‘Toni’ does feel like a departure of what you’d expect from a first tease of a new Interpol album, yet there’s a certain freshness to it also. And like their last couple of records, the new one may not be on the same level as their first three albums, but what’s clear is that twenty years into their career they’re still producing high-quality alternative rock and willing to mix it up!

Interpol are one of indie rocks most consistent bands and two decades on there’s still a rush of excitement ahead of new music being released by them. They’ve established themselves as favourites of the worldwide festival circuit and such acclaim is only going to grow further as twenty year anniversaries fast approach ‘Turn On The Bright Lights’ and ‘Antics’. The ‘00’s was a golden time for guitar music from New York City and Interpol will always be remembered as one of its main players. Their style of brooding rock ‘n’ roll is still utterly captivating.

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More about: Interpol