Interpol — El Pintor
≡ Nejvíce konzistentní album od Antics, nicméně Stephen Thompson poznamenal, že ve špičkách jsou na tenké hranici oddělující konzistenci od stejnosti. El Pintor balancuje na laně, stále si však udržuje rovnováhu, berme to z té lepší stránky. Dvanáct let po svém debutu je to kapela, která má jasno, ví co chce dělat a co je ještě důležitější: ví, jak toho dosáhnout. Oživení ducha jejich písní je zřejmé, je zde malý prostor pro experimentování. Brandon Curtis poskytuje archetypální příklady z mnoha jeho zvuků. Texty jsou více abstraktní.
≡ Toto album zní méně naléhavě, dokonce je průměrné.
≡ Nejvyšší hodnocení má od DOM GOURLAY (Drowned in Sound): 9. Interpol se nikdy neváleli ve štěstí, přesto jejich písně znějí nejen nádherně, ale podivně vítězně.
Formed: 1998 in New York, NY
Location: New York, NY
Album release: September 5 (iTunes), 8 (Soft Limit) & 9 (Matador), 2014
Recorded: Electric Lady Studios and Atomic Sound, New York City
Record Label: Soft Limit/Matador
01. All The Rage Back Home 4:22
02. My Desire 5:00
03. Anywhere 3:13
04. Same Town, New Story 4:10
05. My Blue Supreme 3:09
06. Everything Is Wrong 3:33
07. Breaker 1 4:13
08. Ancient Ways 3:01
09. Tidal Wave 4:18
10. Twice As Hard 4:57
℗ 2014 Soft Limit
• Paul Banks Group Member
• Dakota Bowman Assistant Engineer
• James Brown Engineer
• Greg Calbi Mastering
• John Catlin Mixing Engineer
• Brandon Curtis Keyboards
• Caesar Edmunds Mixing Assistant
• Sam Fogarino Group Member
• Interpol Composer, Producer
• Phil Joly Assistant Engineer
• Daniel Kessler Group Member, Piano
• Roger Joseph Manning, Jr. Keyboards
• Rob Moose Viola, Violin
• Alan Moulder Mixing
¬ El Pintor is the fifth studio album from American rock band Interpol. This is the first release without founding bass player Carlos Dengler, with bass duties being covered by frontman Paul Banks. The album was self-produced and recorded at Electric Lady Studios and Atomic Sound in New York City and engineered by James Brown (Foo Fighters) and mixed by Alan Moulder (My Bloody Valentine, Smashing Pumpkins, Nine Inch Nails). It also features guest artists Brandon Curtis of Secret Machines, Rob Moose of Bon Iver, and multi-instrumentalist Roger Joseph Manning, Jr.
"El Pintor is Interpol's fifth and most exhilarating studio album. It's a driving, relentless record, taut and epic in equal measure. In contrast with previous records, Interpol took a step back on El Pintor and let the songs happen. What emerged is something urgent and compelling, something revitalized and reenergized. The result is as accomplished and thrilling a collection as the band has ever released."
¬ Nouvel album du groupe new-yorkais, à découvrir.
Review by Heather Phares; Score: ***½
¬ As the titular anagram of Interpol's name suggests, El Pintor refocuses and realigns the fundamentals of the band's music. Where their 2010 self-titled album split the difference between back-to-basics post-punk and lavish experiments, on their fifth album — and first without former bassist Carlos Dengler — Paul Banks, Daniel Kessler, and Sam Fogarino hone things even further. El Pintor is Interpol's shortest album, and its music is the closest to the ideal form of the band's sound: Kessler's guitar swings between prodding, angular lines and dreamy washes; Fogarino provides crisp punctuation; and Banks' yearning-yet-authoritative baritone gives more form to abstract lyrics such as "There is a slope like an appetite" (Banks also steps in for Dengler, and does an able, if slightly less distinctive, job). Throughout the album, the trio, joined by Secret Machines' Brandon Curtis, delivers archetypal examples of many of its sounds. El Pintor's opening track, "All the Rage Back Home," even combines the band's extremes into one song, pitting dreamy verses against pulse-pounding choruses with results that are catchier than anything on Interpol. Elsewhere, "My Desire" showcases their flair for spring-loaded guitars that build into a skyward rush; "Anywhere" and "Ancient Ways" define their driving rock; and "My Blue Supreme" and "Breaker 1" typify their chilly ballads. That said, the band also leave a little room for experimentation. "Same Town New Story"'s skipping beat nods to Banks' fondness for hip-hop, while its velvety yet tense guitars and keyboards give it a more mysterious, open-ended feel than many songs here. Later on, "Twice as Hard" makes a brief return to Interpol's orchestral flirtations, incorporating strings and piano into its massive finale. However, what sets El Pintor apart from what came before it is the spirit animating its songs. Even during the album's darkest, most angst-ridden tracks, like the gorgeously despairing "Tidal Wave" and "Everything Is Wrong," Interpol often sound less urgent, and sometimes less immediately compelling, than the highlights of their more uneven albums. Even if it doesn't have as much of the jagged need that sparked their best work, El Pintor is Interpol's most consistent album since Antics; fans who love the band for its pure sound will probably enjoy it more than those looking for stop-you-in-your-tracks moments.
By STEPHEN THOMPSON, August 26, 201412:03 PM ET
¬ Interpol once seemed like a candidate for a quick post-debut flameout. Its 2002 debut, Turn on the Bright Lights, broke through with seemingly instantaneous intensity, setting the band up for an equally ferocious second-album letdown. So many bands in its fickle New York scene were playing a variation on Interpol's sleek, stylish, darkly driving post-punk that success was bound to be difficult to sustain.
Interpol performed songs from their new album, El Pintor, live in Los Angeles for a small group of KCRW fans.
¬ And yet here's the band, back a dozen years later, on the eve of a heavily anticipated fifth album. El Pintor follows a tumultuous four-year gap, during which Interpol toured with U2, went on hiatus, and saw bassist Carlos Dengler leave for good while singer Paul Banks released two solo records (one under the pseudonym Julian Plenti). Thankfully, the resulting album wears turmoil well: Interpol has aged into its polished sound nicely, maintaining its influences — Joy Division, Echo and the Bunnymen, et al — while sounding more distinct from them than ever.
Interpol often tiptoes on the fine line separating consistency from sameness. El Pintor treads that same line, but keeps finding Interpol on its better side. Twelve years after its debut, it's a band that knows what it wants to be — and, just as importantly, knows how to get there every time. :: http://www.npr.org/
¬ Turn on the Bright Lights (2002)
¬ Antics (2004)
¬ Our Love to Admire (2007)
¬ Interpol (2010)
¬ El Pintor (2014)
¬ Paul Banks — vocals, guitar (1997–present), bass guitar (2014–present)
¬ Daniel Kessler — guitar, vocals (1997–present)
¬ Sam Fogarino — drums, percussion (2000–present)
¬ Greg Drudy — drums, percussion (1997–2000)
¬ Carlos Dengler — bass guitar, keyboards (1997–2010)
¬ Brandon Curtis — keyboards, vocals (2010–present)
¬ Brad Truax — bass guitar, vocals (2011–present)
Past live members:
¬ Eric Altesleben — keyboards, vocals (2002–2003)
¬ Frederic Blasco — keyboards, vocals (2004–2005)
¬ David "Farmer Dave" Scher — keyboards, vocals (2007–2008)
¬ David Pajo — bass guitar, vocals (2010–2011)
Birth name: Paul Julian Banks
Also known as: Julian Plenti, DJ Fancypants
Born: 3 May 1978, Clacton-on-Sea, Essex, England
≡ Gibson Les Paul Custom
≡ Fender Jaguar
≡ Gibson Flying V
≡ Gibson ES-175
≡ During Interpol's early years Banks typically played a black Les Paul Custom guitar. He then started using a Fender Jaguar and a Gibson Flying V (for a time with the word "breasts" spelled out in white tape on it for songs from Our Love to Admire and his Les Paul for songs from Antics and Turn on the Bright Lights, although some songs like "Obstacle 1" were played with Banks' Fender Jaguar because of the impracticality of switching and songs like "Mammoth" were recorded using his Les Paul for the same reason. Paul Banks did use his Fender Jaguar as his primary guitar for the end leg of the Our Love to Admire tour and was also seen using a Gibson ES-135 for songs such as "Not Even Jail", but since the 2010 tour leg, he has not been since using the Jaguar or Gibson ES-135 and has only been since using his traditional Les Paul, though the Flying V can be seen in the music video for Barricade with the tape no longer present. His Gibson ES-135 however, was his primary guitar during his live performances as his alter-ego Julian Plenti. Recently during live shows of his solo work he has been playing a Fender Stratocaster with two humbucker pickups and a middle position single coil possibly so he doesn't have to change guitars between songs for the diverse sounds on his solo records.
≡ In the studio and for the latest album, Banks has been seen using a black Fender Precision Bass with a maple fretboard.
His pedalboard includes:
≡ BOSS TU-2
≡ Z.Vex Super Duper 2 in 1
≡ EHX Micro POG
≡ MXR Micro Amp
≡ MXR Bass Octave Deluxe
≡ Way Huge Swollen Pickle
≡ Ibanez TS9DX
≡ BOSS DN-2
≡ 2 MXR Carbon Copy Analog Delay (one set at higher repeats)
≡ His pedalboard on the Julian Plenti tour:
≡ BOSS TU-2
≡ Way Huge Aqua-Puss
≡ BOSS DN-2
≡ EHX POG 2
≡ Blackstar HT Dual Tube Distortion
≡ MXR Carbon Copy
≡ Since Antics (2004) he uses two Fender Pro Reverb amplifiers.
Chart (2014) / Peak position
≡ Australian Albums (ARIA) #11
≡ Austrian Albums (Ö3 Austria) #13
≡ Belgian Albums (Ultratop Flanders) #11
≡ Belgian Albums (Ultratop Wallonia) #11
≡ Canadian Albums (Billboard) #15
≡ Danish Albums (Hitlisten) #30
≡ Dutch Albums (MegaCharts) #16
≡ German Albums (Offizielle Top 100) #11
≡ Italian Albums (FIMI) #25
≡ New Zealand Albums (Recorded Music NZ) #27
≡ Portuguese Albums (AFP) #11
≡ Spanish Albums (PROMUSICAE) #25
≡ Swiss Albums (Schweizer Hitparade) #11
≡ UK Albums (OCC) #9
≡ US Billboard 200 #7
≡ US Top Alternative Albums (Billboard) #1
≡ US Digital Albums (Billboard) #11
≡ US Independent Albums (Billboard) #2
≡ US Top Rock Albums (Billboard) #2
≡ US Top Tastemaker Albums (Billboard) #2
≡ Billboard Singles: All The Rage Back Home Hot Modern Rock Tracks #26
Paul Banks web: http://www.bankspaulbanks.com/
Julian Plenti web: http://www.julianplenti.com/
DOM GOURLAY: "... "Fuck the ancient ways!" declares Banks from the outset of 'Ancient Ways', three minutes of nascent punk rock with a Brooklyn sheen rather than backstreet spit and shine. His delivery on 'Tidal Wave' could be described as Morrissey-esque, The Smiths having been an obvious influence on Interpol right from the start as songs like 'Say Hello To The Angels' distinctly suggest. While perhaps the least immediate piece on El Pintor, it sets the scene ornately for the grand finale. Not since 'The Lighthouse' on Our Love To Admire have Interpol dabbled with something so grandiose. Sometime Bon Iver associate Rob Moose provides the stringed accompaniment to Kessler's guitars, the two joining in unlikely matrimony as Banks inquisitively opines "Be my lover..." before the song fades out.
Their belief regained and creative juices flowing at a rate of knots, Interpol have delivered their finest record in a decade with El Pintor. That doesn't mean they should rest on their laurels, but at the same time they do have good reason to be proud of their labours these past three years. Now let the celebrations begin!"
Greg Kot, Chicago Tribune; Score: ***½
:: http://www.chicagotribune.com/entertainment/music/kot/ct-interpol-el-pintor-review-20140908-column.html © Julie Wagenaar