Posts Tagged ‘Marauder’

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Recorded during time spent in upstate New York with Dave Fridmann, the five songs that make up “A Fine Mess” gradually emerged as a body of work with a narrative and flow unto itself. The title track, and BBC 6 Music-playlisted single Fine Mess then received further production from Kaines and Tom A.D. and mixing from Claudius Mittendorfer, who had first worked with Interpol as engineer on Our Love To Admire. The resulting set is a living, breathing postcard from the band to their fans as they tour the world throughout 2019, and a linear continuation of the visceral and contagious energy set loose with Marauder.

Echoing its title, the artwork for A Fine Mess is illustrated by a series of lost images, recovered from an abandoned police station in Detroit, MI. In a crumbling evidence room – amongst the rubble – an undeveloped roll of film, dated “1-20-96”, featured latent images of a breaking and entering scene, the rooms in chaos.

From the beguiling refrain of the title track, to the soulful topsy-turvy of No Big Deal, cathartic chorus of long sought-after live favourite Real Life, anthemic swell of The Weekend, and angular shades of Thrones, A Fine Mess is a bracing and distinct entry in Interpol’s oeuvre.

Interpol‘s latest album ‘Marauder’ is out now on Matador Records.

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Interpol have shared new track ‘The Weekend’ and announced the upcoming EP ‘A Fine Mess’. Check out all details . After the surprise release of the title track ‘A Fine Mess‘ back in January, now the NYC trio have announced the release of a five track EP in the run-up to their packed summer festival schedule. The latest offering comes with ‘The Weekend’, another new track following on from the dark and raucous mood of 2018’s acclaimed ‘Marauder‘.

Following their successful Australian tour, Interpol have released a new single.

“These are all upbeat rockers,” said frontman Paul Banks . “They’re not b-sides. They’re all pretty rich rock songs with big choruses. It’s all material that we can see being played in a club with people dancing. Sometimes when you turn on an Interpol record you expect people to not be dancing because it’s coming from a more pensive or melancholy place. This is a place rocking EP.”

Due for release on May 17th, the EP was recorded during recent downtime in Upstate New York with Dave Fridmann.

“We had the idea of the EP to be a separate batch of songs to be part of this whole campaign,” Banks said. “We’ve refined the material since then. It’s not like ‘Marauder songs on the EP’, it was always supposed to be a separate EP and a body of work in its own right. “It’s a good way to interact with fans these days. In hip-hop they put out mixtapes between records and it’s a good method. We’re engaged and active right now so it’s good to double down and turn the party up a notch.”

So with the band so engaged, will we hear more new material in the near future?

“I don’t know if we’re going to step into the world of doing a series of EPs,” Banks added. “I think it’s more likely that the next thing we do will be a full-length record, but who can say? We don’t actually have any concrete plans beyond this EP.” . Among the five new songs is ‘Real Life’, which was aired on the band’s ‘Turn On The Bright Lights’ 15th anniversary tour back in 2017. The band have a celebrated history of renewing old rarities and releasing them, however it sounds like their isn’t too much left in the vault.

“We might have exhausted the stores a little at this point,” Banks admitted. “I don’t hate the idea of putting out all the old material and cleaning out the archive to share that stuff, but I am more interested in new material.” As for the lyrics of the EP, Banks continued: “’Marauder’ was a little more reflective, and this one’s more about taking the party by the horns. Maybe the lyrics are a little devious and mischievous. There’s no shame to that.”

Interpol’s latest album ‘Marauder’ is out now on Matador Records.

For their sixth album,”Marauder, Interpol come out swinging. English-American singer and bassist Paul Banks, lead guitarist Daniel Kessler and drummer Sam Fogarino have been playing together now for 21-years, about the age they each were when the band formed back in 1997. The recording for this record began in 2016 with a 15th anniversary tour of the band’s first and classic album Turn On The Bright Lights sandwiched in between the recording session. The band took on famed producer Dave Fridmann, known for his band Mercury Rev but also for producing music by Flaming Lips, Weezer, Sleater-Kinney and many more, just to give an idea of his visceral aesthetic.

For a sense of Marauder, Paul Banks here dives into detail and unveils some of the thoughts that went into this record.

1. “If You Really Love Nothing”

One of the swing jams. Sam is rocking a shuffle and the rhythmic poise is uncommon for us.

The song has some of my favorite lyrics: “If you really love nothing, everybody’s made up, everybody’s losing.” It’s a similar sentiment as expressed by “Stella.” “The building fronts are just fronts.” Both songs, I suppose, center around a narrator who is perplexed by a woman with unwieldy psychological pathologies involving paranoia and dissociation. This song, like “Stella,” suggests the narrator gives up on this woman ultimately. The choruses feature the best guitar interplay on the record.

2. “The Rover”

“The Rover” was one of the first songs we got cooking. Daniel introduced the riff and the rest came very quickly — bass, drums and vocals.

I wanted to keep the bass and guitar simple in the verses. I felt that the counterpoint of a drone against Daniel’s poppy, sharp progression would provide a bottled-up energy that we release when the chorus arrives and the bass and guitars diverge.

The lyrics are about a seductive, charismatic cult leader who has no trouble amassing young followers. His message is one of inclusion, obedience, hedonism, and salvation. The end is nigh, so come and see me.

3. “Complications”

Another swinger. Sam really stretching out and having fun. One of my favorite songs. I feel that the “The Rover” and “Complications” exist in the same world — in the same movie. If “The Rover” were walking through the desert on an acid trip, then “Complications” is the song playing in the jukebox of the dive bar where he winds up — the come-down at sundown.

4. “Flight of Fancy”

This song has a very strange chord progression from Daniel. I think in my mind it begins on the 5th chord of the melody and then plays out like: 5, 1, 2, 3, 4. But if you ask Daniel, the order of the chords is as you hear them: 1, 2, 3, 4, 5. Basically I think he’s starting his melody in the “wrong” place. And he thinks I’m nuts. We are probably both right.

But that difference of orientation lent itself to a fun and fluid arrangement between bass and two guitars. I think it would be difficult for someone else to learn the song because it doesn’t really seem to follow any rules. To play it correctly, I first had to memorize my bass pattern before I could feel it.

Lyrically the song begins as a lover’s lament — much like “NYSMAW” — the idea is, why can’t I know you?

Then the chorus opens into a defiant assertion. A claiming of agency. My thoughts are my own. And I am my thoughts. It suggests in the feel and tone (and in my mind) that one day we will not just be defending our right to privacy and free-speech. But we may some day find ourselves defending our freedom of thought. It’s another song, like “Surveillance,” that thematically is akin to an episode of Black Mirror. I just like the idea of reclaiming the right to free thought.

5. “Stay In Touch”

Our gothic jam. Daniel loved the simple ominous descending bassline and never let me change it. 🙂 His riff has always struck us — it has a beautiful hollow, woody timber — hooky but vague. Moody and distant, but sticky and inviting. Producer Dave Fridmann loved it immediately for how it invited his ear. It’s amorphous. We slaved to make it hold together as a song while maintaining the nebulous quality of Daniel’s languid shifts. The third verse features a cool Eastern or African sounding guitar part from Daniel. Very sparse but filled with kinetic energy. It inspired my second best riff on the record, lovingly referred to as “Cuban Bill Gates.”

Sam brought the flavor on this one.

6. “Mountain Child”

In my mind the narrator is perhaps the same character from the “Rover” — a dusty man. Here, he’s in love with a girl who is in love with nature. She is a social outcast by choice. She prefers the wild. But the narrator can see her — knows the ilk of her spirit and chooses to follow her.

In the third verse he is bitten by a venomous snake. And as the song proceeds, his consciousness breaks down as the toxin invades his senses. He becomes nonsensical, fevered: “My mountain child is strange and I’m a kind of hero. We used to rule back then. What did we used to rule back then?” [These] are his last thoughts before he perishes.

The outro features my fourth favorite riff, but it’s really just an inversion of what Daniel is playing.

7. “NYSMAW”

Just an easy breezy pop rocker. Dancing, punchy energy. Daniel coordinated the snare accents to emphasize his stabbing, off-kilter guitar hits. Lyrically the song is about wanting to understand more of one’s partner. It’s the frustration that we cannot know all and the frustration that she in fact may know all of me.

8. “Surveillance”

Sam and Daniel often championed this song’s disco beat and high-energy propulsion. Harmonically it’s a strange journey. Daniel’s chord pattern begins as a four-chord pattern, then he adds a chord to his sequence, making it five-chords. Then he adds a sixth chord. It’s like a round that acquires a new facet with each pass. It gives an illusion that there is no clear anchor to the verses, but there is always the four-chord nested pattern. [It] never rests.

Sam brings a special energy on this track. Signature Sam dance style. The bass and drum interplay here was something we worked on diligently. If it came out correctly we should be flamming. This song features my third best guitar riff, nicknamed “Bill Gates.”

(It appears in the outro.)

9. “Number 10”

This song was destined to be a B-side. I had written a fun surfy baseline that jived well with the drums but I was never super stoked on the song. In the studio we just recorded it because we had some time. But there was no second guitar and no vocals.

When we tracked it, it came out really explosive and fun. The additional guitars and vocals were written in a few hours over two afternoons. No fuss no muss.

The lyrics are about an office drama. The narrator is tired of his supervisor, Ella breathing down his neck. She’s a tough boss. But there is also a love there, a secret attraction. A mutual secret attraction. But alas, business is business and their desire is never sated. I think that feeling of frustration and desire suits the temperment of the music. The flighty intensity. Pent up lust.

I love this song. It’s the loosest, most spontaneous and unpolished track on the record, and I’m proud of its garage feel and grit.

10. “Party’s Over”

Popping pills and masturbating to Instagram. (Fiction!) Also an anarchist call to arms.

11. “Probably Matters”

It’s like an impressionist/surrealist film about a defunct relationship — the remorse, guilt, and shame that can nag us through the haze of afterthought.

Interpol’s new album Marauder out on Matador Records on August 24th.

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Earlier this month, Interpol hosted a press conference in Mexico City to announce their new album Marauder. The band answered questions and smiled for photos, and the press conference was pretty par for the course. Well, that is, until a man interrupted the panel to massage frontman Paul Banks’s head, without a single word of explanation.

Turns out, Interpol don’t need to beef up their security after all: The stunt was for their music video for “The Rover,” the first single off their new record. The mystery man in question is actor Ebon Moss-Bachrach (Girls, The Punisher) playing the song’s title character, a cult guru in the making.

The music video introduces us to The Rover on the brink of a breakdown inside a van carrying the band. After throwing himself out of a moving vehicle, he acquires his first followers and romps his way across the city to reunite with Interpol at the press conference.

“It’s the origin story of the character described in the song, the birth of a cult leader,” says Banks. “When we meet him, he is partly unhinged. He’s a man on the verge, an artist subjected to great pressures, and beset with existential frustrations. A distracted hipster who enjoys psychedelics, let’s say.”

Director Gerardo Naranjo (Narcos, The Walking Dead) filmed the Rover’s trippy adventures on-location in Mexico City for four days straight, resulting in a music video that blurs the line between reality and fantasy.

‘If You Really Love Nothing’ is the latest single from Interpol’s new album Marauder out on Matador Records due out in August

Marauder isn’t due out until August. 24th, on Matador Records

Interpol share intense new single “Number 10”

Interpol used their last single “The Rover” to follow the meandering adventures of a guru in the making, but now, in a follow-up track entitled “Number 10,” the band tackle subject matter a little more familiar: the modern office romance. The new song,is the second single from the band’s forthcoming sixth album Marauder.

“Number 10” describes the secret office relationship between Ella and one of her employees. Blending romantic dialogue with more standard office banter, the song begins with lead singer Paul Banks assuring that “Your secret’s safe here,” before Ella encourages her employee to “Go and talk to Steve about it.” In compliance with standard office procedure, we can only assume Steve is the head of HR.

By the sound of the track’s fast-paced dueling guitars and anxious lyrics, “Number 10” is a far cry from a love song as this pair navigates the tricky ethical waters and power dynamics of interoffice romance. In a Beats 1 interview with Zane Lowe, Banks described the grungy new track as an attempt to “sound faithful to a live recording.” .

Interpol recently announced an expanded tour to support Marauder,

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We’re nearly halfway through 2018, but Interpol might still be able to shape it into their year: The band is dropping a new album, Marauder, via Matador Records on August. 24th, their first full-length since 2014’s El Pintor.

The rush has already begun for the band, having been tucked away in rural upstate New York, with recording starting last December and finishing in April, although it’s likely that having the cops called on them while practicing down in the city was more of an annoyance than a thrill.

But for those of us who didn’t get to hear Interpol through the walls or down the street, it really all starts today. And that begins with “The Rover,” a shattering first look at the band’s forthcoming record. The song’s title leans into the album’s name—the roaming air of a marauder directly links to roving and wandering, which are captured in the song’s lyrics. The brash line, “You can stick to the highways and suicide,” is wrapped in the lawlessness of a marauder.

On Marauder, Interpol turn to producer Dave Fridmann for the first time; Fridmann has worked with the likes of Spoon, The Flaming Lips, MGMT and numerous others. The new record’s focus of capturing the band’s live energy is felt strongly on this first track, as the drums pound forward and the sharp guitar pierces through it. You can listen to the band play the song live on The Late Show with Stephen Colbert on Friday, June 8th.

Recent hints appearing on the band’s social media have also been explained: The mural begun in Mexico City has now been unveiled to feature the band’s new album art. Mexico City is also where Interpol are streaming from as they hold a press conference to discuss their new record. The livestream begins today (June 7) at 12:30 p.m. EST (now)  you can watch by heading to Interpol’s website or Facebook page.

The band will be roaming across the globe on their tour and will reach the massive Madison Square Garden in February of next year. Listen to “The Rover”