Interpol
Fine Mess
Matador/Remote Control
Following hot on the heels on from their best album in years – last year’s Marauder, which saw a rejuvenated Interpol go back to their roots and enlist legendary New York producer Dave Fridmann for a raw, vital sounding record – Fine Mess is taken from the same sessions.
It’s another strong song in a similar vein (reminiscent of Flight Of Fancy and The Rover, two of the album’s best, yet most abrasive tracks), but also stands apart from the record, and harks back to the sound of their pioneering debut album – tracks like Obstacle 1.
The band still sound like no one else. Daniel Kessler manages to keep coming up with variations on his trademark intricate distorted fretwork melodies. And while they will always miss the talents of Carlos D on bass, Paul Banks is really improving and starting to emulate the more adventurous basslines of his former bandmate, and nowhere more so is it better exemplified than on this track.
Underpinned by Sam Fogarino’s rock solid drumming, the band sound tight, fresh and dynamic, with that inimitable caustic edge, that has put them down in history alongside the long list of other great, influential NYC bands. Paul Banks’ unique, impassioned voice is high as he sings urgently, “Deep breath, keep grabbing”, repeating the chorus “You and me, make a fine mess.”
He sounds like he’s been through some shit lately, and is writing more personally than ever, but seems to be pulling through the other side and beginning to heal, as he professes, “Lately something has come over all of me/ My welts all undressed, no longer seem to weep.” Whatever the emotional weight and battle scars, the veteran band sound fighting fit, with life in them yet, and Interpol fans are reaping the benefits of Banks’ emo inspiration.
ALFRED GORMAN
