It's hard to say that when Interpol took a hiatus anyone had the foresight to know they'd come back with the same kind of intensity. A series of small gigs in/around the local New York underground shows that Interpol didn't leave. Instead, their ferocity and innovation stayed apace--merely waiting to be revisited, not revived.
Bowery Ballroom being one such gig on the calendar and, of course, that album debut at the "Temple of Dendur" inside the Metropolitan Museum of Art, the band has found a bed of good reception with their singles.
Interpol's fifth studio album, El Pintor, has been met with positive anticipation, gearing for a release that doesn't so much mark a comeback but another installation in an ever-continuing cycle. The band is self-perpetuating, yes, even with the departure of bassist Carlos Dengler who contributed greatly to the band's overall sound.
Paul Banks embarked on his own side project with the release of Banks, his eponymous debut, while the other members kept busy with their own ventures: Daniel Kessler started writing again for Big Noble and Sam Fogarino made a record as EmptyMansions.
However, the life of Interpol wouldn't be cut short by secondary ambitions; their sound couldn't be undercut by a break of any kind.
No, the group remains a centerpiece of modern post-punk that echoes itself some four years ago now--revitalizing the stylings from their fourth studio album.
So, with two sold out shows already marked for Terminal 5 in the Fall, Interpol's Met Museum launch rocked audiences old and new (at least according to the Village Voice's "Sound of the City" blog).
And with a lot to look forward to, Interpol knows it's not about rebranding itself...so much as they are showing us that they never actually left.
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