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Interpol: Self-Titled Album Review
Revisiting the Album on its 10th Anniversary
Released on September 7, 2010, Interpol became a turning point for the band. It was the last album they recorded with bassist and keyboardist Carlos Dengler. The bassist played an integral part in shaping the band’s sound, so his departure felt like the end of a chapter in their career. The tension-filled recording sessions led to Dengler, leaving as soon as he finished recording his parts. The resulting album received a mixed reception from critics and fans. Pitchfork described it as,
“bereft of hooks, choruses, and other elements that make listening to music enjoyable.”
But did it really deserve all that hate? Let’s take a look back. In music, especially the world of indie rock, there has always been arbitrary importance on coolness. What is or isn’t cool? What music is cool to like? When Interpol released their classic debut album, Turn on the Bright Lights, in 2002, they were the epitome of New York City cool.
In 2002, not liking Interpol was almost the equivalent of branding yourself, uncool. But a lot of things changed in eight years. 2010 was not 2002. Liking Interpol was no longer a badge proving your coolness. That’s not to say that Interpol received negative reviews simply because it was not cool…
