INTERPOL DROP THEIR MOST REFLECTIVE ALBUM TO DATE
Words: Tom Gensler
Interpol’s latest and eighth album, This Mirror Weighs a Ton, marks a big change for NewYork’s indie stalwarts. The album takes away some of the rawness and drive of the older and more familiar Interpol sounds and changes it for atmospheric, moody elements. It takes a bit of a while to get used to, but at about the midway point of the album it settles in, and on repeat listens it does bed in more. It doesn’t seem so drastic now as much as it does on the opening track.
It is worth noting that I reviewed the first single of this album cycle, the two-song This Mirror Weighs A Ton / See Out Loud, which pairs the drastically different title track with a more familiar yet more refined sound, which is bittersweet considering the band’s early work. I thought the two-song approach was a very intelligent move; strike something new and then comfort people a bit more, and this single definitely set the stage for the album as a whole.
The album’s first three songs are the three singles, the aforementioned two and then Iron City, released later. Iron City is a very strong song that’s very reminiscent of The National, something which radiates through the whole album, boasting subdued instrumental parts with sharp vocals. In fact, that’s essentially every song. They’re all rather similar except for tempo and actual content, which makes it hard to distinguish between tracks sometimes, especially when the actual tracks are quite long. This is slightly a negative of the record, however it does make it feel unified and complete.
In comparison to their last original studio album, 2022’s The Other Side of Make-Believe, it’s less showy and pulse-ridden and more brooding and thought-heavy. Its more sound orientated than song orientated, and so there’s less in terms of individual standouts and more in terms of sonic highlights, which mostly happen as the albums closes out, on Bird and the Serpent which boasts twangy guitars and stinging lyrics, as well as a subtle groove which rings through. Its a build and a good pay off, which a few of the other songs on the album, such as the title track, could learn from. The songs create very good atmosphere and tension but don’t really pay it off.
The production of the record is simultaneously very good and a huge loss. It adds atmosphere and this help to take the weight off of some of the broodier and less lyric-heavy songs, however it removes the scrappy and faded neon glow of those earlier records, that New York indie feeling that made them so popular to begin with.
Now, strangely enough, this is what the album is actually about, both thematically and contextually, and this self-awareness combined with the atmosphere makes for a weird experience. Its a very self-aware and very intelligent record, one that very much hinges on the idea that the band have changed, and they do not care what you think, as stated on Sudden. which is a really great thing to hear when reviewing the album, and, obviously, by stating that I think it’s lost a bit of the Interpol coolness is very much paradoxical, as the album itself tell me that it doesn’t matter, as seen in the repetition of “This is not so sudden to me”, on Sudden. They’re basically saying “Screw You” to critics, and the loyalist audience, on this album. I think. Its hard to tell whether the reflections stated in the lyrics are about the audience or anyone listening, or the actual band. This is the first ever album that’s made me question how I write and the ethics of opinion, and it makes for some confusing thoughts. Are they just being provocative or is what I’m writing for my own benefit and bears no artistic relevance, as the album was clearly not made to be reviewed in this critical, eagle-eyed way? They drop this all in the last song too.
Aside from the journalistic existential crisis, I’m surprised that Interpol has aged this well. Its a strong album. Its not groundbreaking or an instant classic, but it has enough of the band’s signature sound and songwriting to be a notable entry, with added atmosphere that drains some of the magic of the earlier stuff and puts that energy towards mood and broodiness, making for the band’s most reflective and inwards album to date. After listening it does make me wonder where the band go next, do they go even more inwards, as the lyrics of the album suggest, or do they fold this era and go back to the striking energy that they were made famous for? I’m not sure, honestly, but this is a decent listen nonetheless.
