After 4 relatively quiet years and their most recent work widely viewed as probably their weakest to date, you couldn’t blame fans for being a bit skeptical prior to the release of El Pintor (an anagram of Interpol for those who haven’t already clicked). Interpol needed to come back with something big.
So I guess there was a collective sigh of relief when the opening track “All the Rage Back Home” was made public before the album’s release and it was an incredibly fine piece of work. And with it, all of a sudden the skepticism turned to excitement.
There’s still the eery, enigmatic undertones that Interpol fans will have become accustomed to, mixed with their own spin on the whole New York city, laid back sounding rock and roll. So the basic foundations for what makes the group are still present.
But beyond that ¬†everything about the record just seems bigger, everything sounds more prominent in a way that sets it apart from anything the band have done previously, from the distorted looping riff in “My Desire” to the heartbeat like drum pounding throughout “Anywhere” it really is a huge, contagious sound.
The beauty of the record is that nothing appears to have been over complicated, nothing seems overly complex about it. There’s this echo that reverberates out after strings are plucked or Banks’ vocals ring out, as if being played in a big open room, and it really does compliment the massive sound from start to finish.
El Pintor marks a monumental return to form for the New York 3 piece, and will serve as an immediate silencer of critics the band may have had in recent years, it truly is something brilliant from all angles.