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Right out of the box, bassist Carlos Dengler establishes himself as a major figure in the band’s sound. TOTBL’s opener, “Untitled” establishes the album’s mood-a fraught, gothic, bass-heavy sound punctuated by soaring guitars and Banks’ plaintive vocals. This kind of bold, honest, passion is what had driven so many music geeks like me over to hip hop prior to the turn of the century… Because, while there’s something to be said for lo-fi tongues buried in postmodern cheeks, there’s also something vital about caring enough about one’s craft to make a lasting statement as poignant as Turn On The Bright Lights. Front man Paul Banks crooned about: love, isolation, city life and creeping fascism and it was all so cool and yet so sincere. Interpol was willing to show listeners they gave a shit about more than just cultivating their sense of detached irony. Though at the time I couldn’t put a finger on it, what I ultimately loved so much about the record was its sincerity. Then came a bunch of MP3 demos and finally Turn On The Bright Lights in all its spiffy glory. In terms of packaging and options, Our Love To Admire is available as a CD/DVD, LP, and as an LP/DVD – all of which can be purchased from their official website.I stumbled upon Interpol when I illegally downloaded (like everyone else back then) their first EP in early-2002. Indeed, take a look at their Facebook page and there is more made of the 15th Anniversary of Turn On The Bright Lights than there is of this. Lyrically this appears as one of the least ambiguous of Paul Banks’s collections though one or two Bernard Sumner-esque lines do creep in.Īt the end of the day Our Love To Admire is a good album, though not necessarily a great Interpol album. All Fired Up features another guitar riff from Kessler that serves as the fulcrum, and it crescendos nicely with Banks’s playing at the end. The Heinrich Maneouvre is the the standout track and it’s no surprise that it was chosen as the lead single – it is, for me, the most Interpol-y song on the album. No I in Threesome feels almost pedestrian compared to Stella Was A Diver and She’s Always Down and Not Even Jail from Turn On The Bright Lights and Antics respectively. This does come at a price though as far as accessibility of the songs go it’s a success, but the magic of the interplay between Fogarino and Dengler in the rhythm section is downplayed to near non-existence. It’s different and sets the template for the album as a whole. Kessler’s playing especially is, pardon the pun, instrumental in holding everything in place. Pioneer to the Falls is the album’s opening track cinematic in scope, fuller in sound, and riffy in a way not really heard before. So why the remaster? 10 years is certainly a milestone to commemorate however it could also mark a failure, regardless of how glorious, in the band’s career. Certainly there is no aping of their previous releases, a decision that both helped and hindered Our Love To Admire.Įven though Our Love To Admire was made and released a mere 10 years ago the remastered tracks do sound cleaner and crisper than their barely aged counterparts. Still present were the mystique and enigmatic moodiness we’d all come to love and expect from Interpol but these were supplanted somewhat by a greater expansiveness, a sense of expression musically, maybe even a desire to start moving away from past efforts. So far the only release on a major label, Capitol, it marked a change of sonic direction following their first two albums – Turn On The Bright Lights and Antics. Ten years on from its original release, New York’s Interpol (Paul Banks, Daniel Kessler, Sam Fogarino and as was, Carlos Dengler) have remastered and reissued their third album Our Love To Admire.