Pandemic lockdowns forced the band Interpol into novel ways of constructing their seventh album, “The Other Side of Make-Believe” (released last month on Matador Records).
Singer/guitarist/bassist Paul Banks, drummer Sam Fogarino and guitarist Daniel Kessler were used to writing together, but geographical separation and isolation necessitated this new approach. The results — from some of Banks’ hushed, understated vocals to Fogarino’s lighter rhythmic approaches in spots — highlight a stellar entry in an already impressive indie rock catalog.
“I think an artist always likes their new record — you have to,” Fogarino said on a recent call. “But there’s something about this one, maybe how it came to be with the pandemic and everything.”
The band — and new album — take center stage with a show Friday, Sept. 2 at The Eastern in Atlanta, opened by Brooklyn electro group Water From Your Eyes.
For “The Other Side of Make-Believe,” Interpol’s members wrote in pieces individually, sending the results to each other for reaction and complementary parts. As such, most of the percussive elements took shape in Georgia; Fogarino has lived in or near Athens since 2008. “You didn’t see any stress,” he said about lockdown life in the area. “People were just taking their walks. So it was kind of a really good bubble to be in.”
Writing and experimenting solitarily brought a number of new angles. “You’ve been a live guitar band for a couple of decades, and you kind of have that force to it,” the drummer acknowledged. “I tend to hit hard in the room, and it’s all out of excitement and energy. With Paul, being able to hear himself and explore a softer (vocal) delivery, he would be able to do that. It’s kind of the same thing rhythmically. What if I didn’t go full on, and tried something else that required a little bit more finesse or delicate touch?”
Credit: Handout
Credit: Handout
Fogarino noticed another difference with the approach forced on them: a lack of pressure. “Two people weren’t waiting for me to come up with something on the spot,” he says. “Aside from the dynamics it can bring, it’s less of a neurotic endeavor because you’re not together. You’re not second-guessing each other or projecting something bad… I get to embarrass myself alone first!” he laughs.
Unlike many bands, Interpol was not in the midst of an album promotion/touring cycle when the pandemic struck. The trio had recently completed touring in support of sixth album “Marauder,” and Banks joined Matt Barrick (The Walkmen) and Josh Kaufman (Bonny Light Horseman) in side project Muzz, recording and releasing a low-key, gorgeous self-titled debut album in the first half of 2020.
At the beginning of last year, after months of the writing individually/sharing files with each other phase, Interpol’s members got together in the Catskills to work on and expand the new material before decamping to London to complete the record with legendary producer Flood. He’s collaborated with everyone from New Order and Depeche Mode to The Charlatans and U2. Fogarino is swift and sincere in acknowledging his admiration for Flood both as a human being and as the person who produced “The Other Side of Make-Believe.”
“He’s got such a great temperament to be in the studio with,” he said. “His approach to getting to the definitive was kind of blurry, so you never really knew how many times you were going to play something. It kinda didn’t matter — you just knew that when he tells you to stop, it’s done. And,” he said, “after a few times, you had faith — yep, this is the take.”
One song that changed considerably because of Flood’s influence is “Passenger.” In the demo, Fogarino “had a whole different approach and it was more of a double time, swing thing — more in line with ‘60s pop music than what it turned out to be,” he said. “Flood was just like, ‘No, I’m not convinced by that.’ That led into the direction of embracing slower tempos for those kinds of songs.” Indeed, mid-tempo songs dominate the album, making quicker tracks such as “Renegade Hearts” stand out even more.
The group’s usual instrumentation changed a little bit. On several tracks, Kessler played the piano — and left rhythm guitarist Banks to add guitar parts. “That opened a different door, too,” Fogarino emphasizes. “That always turns things to a little bit of an angle. It’s still familiar, but he’s playing a different instrument. And I love that he wanted it delivered that way,” rather than bringing in touring member Brandon Curtis to play the parts.
While the record is yet another example of the trio’s commitment to occupying new ground and avoiding repetition of particular sonic styles that have been successful for them, last week’s 20th anniversary of seminal debut album “Turn On the Bright Lights” highlights the group’s staying power and recalls the excitement generated by the three plus then-bassist Carlos Dengler as their stylish approach to post-punk-influenced indie rock caught on outside of their New York City base.
The hypnotic opening track on that record, “Untitled,” continues to resonate with Fogarino. “It’s a very short, sweet song that can be really depressing, or you can flip the perspective and it’s really hopeful,” he said. “I think everybody hit the mark on that one. Yeah, ‘Untitled’ holds a lot of weight, and I don’t think I could ever get tired of playing it for that reason.”
It’s a song often in the band’s set lists, the construction of which has turned into something of an art form given the size of the catalog. “We sample every record and concentrate on the new one,” he said. “We’re gonna play less than half of (the new record), and that leaves a lot of room to mix it up with a lot of songs people are familiar with.” Expect some tracks to make a return, too: “It’s kind of cool to go back and pick some songs from every record that haven’t had any attention in a while,” Fogarino said.
Interpol brushed off the concert cobwebs with recent European festival appearances. “But now that the U.S. tour is kicking in, it seems more real, that things are happening,” he said. “With that said, the new songs have been great to play live. The new songs, if anything, bring a renewed vigor back to songs we’ve been playing for 20 years. So it’s kind of a win/win situation.”
Local concertgoers will see and hear the benefits of that combination at The Eastern. “I’m looking forward to playing in Atlanta again, it’s been a while since we’ve been down that way,” said the Georgia-based drummer. “It will be good to get back to relative normalcy.”
CONCERT PREVIEW
Interpol with Water From Your Eyes
8 p.m. Sept. 2. Tickets start at $45. The Eastern, 777 Memorial Drive SE, Atlanta. easternatl.com
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