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When Interpol jumped onto the scene in 2002, people were dazzled that a debut album could manage to take the dour beauty of Joy Division and fuse it with strongly melodic guitars reminiscent of Television. It was a combination that enthralled critics, and rewarded the band with an instant credibility and following. Since then the band released 2004’s Antics before moving to major label Capitol for their latest release.

It’s completely obvious after the initial spin of Our Love To Admire that the love-it-or-leave-it first single, “Heinrich Maneuver”, sounds almost nothing like the rest of the album. That single would fit nicely on the group’s vastly underappreciated vault of guitar-pop that was their last album, but here it feels like a bait and switch: produced solely to appeal to the youthful MTV market with very little coming close in accessibility. In fact, listening to Our Love To Admire, one can’t help but think that perhaps this release should have been their sophomore slump. Meeting somewhere between the atmospheric slow burners of Turn On the Bright Lights and the swinging catchiness of Antics, Our Love To Admire scarcely accomplishes either one, let alone both.

All that being said, there are some tracks here that deserve a listen. Opener, and arguably one of the best tracks the group has ever committed to tape, “Pioneer To The Falls” starts with a brooding guitar line similar to bands earlier work “Untitled”, before adding Mafioso flourishes. “You fly straight into my heart/ But here comes the falls,” sings Banks on the songs crescendo. Winning the award for song title of the year, “No I In Threesome” packs galloping drums and guitar that lead Banks into the perfect vocal execution on the line “Babe, it’s time we give something new a try/ Oh alone we may fight/ So let us be free tonight”. Also of note, the coked-out regret “Rest My Chemistry” has some danceable swagger, while “Pace Is the Trick” feels comfortably familiar.

But for every good track that could have been great, there’s one that completely misses the mark. On “Mammoth”, Banks cries, “Just spare me the suspense” then never gives you a lengthy melodic payoff, just a hint of how good it could be if they dared to try. Both “All Fired Up” and “Who Do You Think?” are upbeat enough to be singles, but don’t even bother to offer up a tangible hook, or memorable line.

Thankfully the closing duo of “Wrecking Ball” and “Lighthouse” showcase symphonic strings and washes of ringing guitars that would make Explosions In The Sky a credible influence. It marks a surprisingly welcome change for the band, and will hopefully lead them in a more fruitful direction.

Much like Bloc Party’s A Weekend In the City, Interpol has amassed a great deal of mediocre songs, added some “mature” touches, and given us a little moment of clarity in each: hoping we’ll sit through five minute tracks just to get to the few precious seconds we enjoy. It’s the equivalent to spending $60 on a third date and getting a kiss on the lips. It’s nice and all, but we were having such a good time earlier, so why won’t you invite me in?

Reviewed by: Allen Beavers

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