Chords for Interpol - Marauder ALBUM REVIEW
Tempo:
28.75 bpm
Chords used:
Gm
F
E
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Uhhhh
Hi everyone, Anthony Fantano here, Internet's Busiest Music Nerd,
and it's time for a review of the new Interpol album, Marauder.
This is the latest full-length album from legendary indie and post-punk band Interpol.
The band's [Gm] trajectory over the past 20 years has pretty much become a trope in popular [F] music at this point.
Band makes grand entrance into the music scene with a pretty much picture-perfect debut album,
and then they sort of spend the rest of their careers living in the shadow of that album,
never really quite being able to outdo it,
or really create anything that seems totally out of the purview of it.
Whether it be the band trying to stick to their guns for a pretty formidable follow-up on their sophomore full-length LP,
or bringing in a bunch of very syrupy, atmospheric, grand, extra-lavish instrumentation on their self-titled record in 2010,
and then going back to basics in a way on El Pintor a few years ago in 2014.
And at this point on Marauder, Interpol still kind of sounds like they are at a loss for what to do.
I was somewhat excited going into this album by the rough and wild performances I heard on teaser tracks like The Rover,
even if the mixing and Paul Banks' yelpy vocals were a bit weird.
It still seemed like the band were on the verge of something new and refreshing.
But the exciting new direction I hoped Interpol would pull through with on this album is just not here,
nor would I call this album the mild return to form that Pintor was either.
Instead, Marauder pretty much sounds like the same moody, driving post-punk that Interpol is known for,
but presented with sloppier writing, production, and performances.
There is an unnecessary amount of reverb on a lot of these tracks,
to the point where the guitars, the vocals, are really just bleeding into one another in a very unlikable way.
It's like they cancel each other out and create this bland sonic slop.
And when the band manages to throw on a few extra layers of vocals or guitars, it just feels like I'm listening to really bad shoegaze.
The sound, the tone, the timbre of this recording, it's just really dull and drab and gray.
And the performances, the playing on this thing, they don't really help either.
Like the twangy and repetitive desert rock guitar leads on the track Stay in Touch.
They get very tedious, very fast.
And the only thing that really distracts from them are the horrid swells of cymbals, Paul Bank's voice,
and these weird wailing guitar leads that sound very sour.
There are also some weird rhythm guitars in the second leg that do anything but emphasize the rhythm of the track.
I hear the band making some attempts at trying some new stuff, doing something to shake things up in their typical sound,
but usually it does not go over too well.
Especially when Paul tries to switch up his vocal delivery, which in theory is not necessarily a bad thing,
but why his instincts went toward, hey, let's just hang in my upper register and get really yelpy.
Like on the song Party's Over, which was such a slog to listen to, the track almost feels like a statement on the album itself.
The party's over, please.
And even when Interpol is just resting on their laurels and trying to pull off their usual shtick,
it's really underwhelming.
The chimey driving rhythm guitars that Interpol are usually known for, like on the track Surveillance,
are really, really sloppy and come together in a pretty messy fashion.
Which is sort of a shame because it sounds like at the core of the track, we have a very good song here.
As Paul's singing on the verses kills it, and his haunting demeanor on the hook is fantastic.
His forlorn croons are really despondent.
Vocally, I think it is one of the more powerful moments on the record, but instrumentally, one of the most lackluster.
And it's one of many moments on this album where it does sound like the song is pretty decent,
but the full potential of it isn't realized because of a very lackluster presentation.
This is also an issue with the opening track, the closing track too.
There's just so much on this album that is holding it back, it's actually frustrating.
Like the super rough and squawking rhythm guitars on the track Complications.
Really the worst rhythm guitar on the entire LP, and not just because of the sour and horrid chord progression,
but the tone is super thin, overly sharp, it doesn't really enhance the rhythm of the track that much.
There were at least a handful of songs that I thought sounded pretty great from start to finish.
Interpol doing what they do well.
The song Fly to Fancy had a pretty fantastic driving groove.
The guitars and bass felt very locked in.
Solid drum beat too, Paul's vocals are captivating.
It feels dark, it feels authoritative, sort of thrilling too.
A rare moment of potent emotion on the album.
The song Mountain Child is a pretty nice slow burner with a patient introduction.
It slowly builds up with some dramatic bass and drums, and it's one of the few moments on this album where
the band throws on these extra guitars, these extra sonic layers.
It does get a little overwhelming sonically, but it's pretty enjoyable.
The band's experimental desires on this record, in a way, fully realized.
The tune at the core of this sonic chaos is pretty solid as well.
Paul's vocals on the pre-chorus when they kind of reach into that
upper register [E] and strain a bit are pretty fantastic.
The hook is one of the smoothest on the entire record.
And the song NISMO as well, I thought had some super tight playing.
The guitars, the drums, the bass, once again, super locked in on tempo.
Doesn't feel like the band are playing it super loose [Eb] for absolutely no reason at all.
Which, I mean, there is certainly an appeal to.
I have praised multiple records on here that are a little rough around the edges.
Maybe they're a little amateurish.
Maybe they're just kind of wild and out of control.
That can be great.
That can add a lot to an album.
But if that was Interpol's intention with some of the tracks on this record,
like, you could have brought it so much further than where you did.
I'm just having a hard time finding the appeal of this album because,
by the usual standards Interpol set on a record, this falls horribly short.
It is messy.
At points it feels underwritten.
The vocal performances are kind of off.
The production is very washed out.
But it's also kind of hard to see this album as a novelty or refreshing or experimental.
Because not just in the grander scheme of things,
but also within the scope of Interpol's very limited discography,
this is not very adventurous.
It just feels like a noisier and sloppier version of the band we've been listening to for all these years.
And truth be told, I could not wait for this album to be over.
I'm feeling a strong 4 to a light 5 on this thing.
Tran.
Zishin, have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best.
You're the best.
What should I review next?
Hit the like if you like.
Please subscribe and please don't cry.
Hit the bell as well.
Over here next to my head is another video that you can check out.
Hit that up or the link to subscribe to the channel.
Anthony Fantano, Interpol,
Hi everyone, Anthony Fantano here, Internet's Busiest Music Nerd,
and it's time for a review of the new Interpol album, Marauder.
This is the latest full-length album from legendary indie and post-punk band Interpol.
The band's [Gm] trajectory over the past 20 years has pretty much become a trope in popular [F] music at this point.
Band makes grand entrance into the music scene with a pretty much picture-perfect debut album,
and then they sort of spend the rest of their careers living in the shadow of that album,
never really quite being able to outdo it,
or really create anything that seems totally out of the purview of it.
Whether it be the band trying to stick to their guns for a pretty formidable follow-up on their sophomore full-length LP,
or bringing in a bunch of very syrupy, atmospheric, grand, extra-lavish instrumentation on their self-titled record in 2010,
and then going back to basics in a way on El Pintor a few years ago in 2014.
And at this point on Marauder, Interpol still kind of sounds like they are at a loss for what to do.
I was somewhat excited going into this album by the rough and wild performances I heard on teaser tracks like The Rover,
even if the mixing and Paul Banks' yelpy vocals were a bit weird.
It still seemed like the band were on the verge of something new and refreshing.
But the exciting new direction I hoped Interpol would pull through with on this album is just not here,
nor would I call this album the mild return to form that Pintor was either.
Instead, Marauder pretty much sounds like the same moody, driving post-punk that Interpol is known for,
but presented with sloppier writing, production, and performances.
There is an unnecessary amount of reverb on a lot of these tracks,
to the point where the guitars, the vocals, are really just bleeding into one another in a very unlikable way.
It's like they cancel each other out and create this bland sonic slop.
And when the band manages to throw on a few extra layers of vocals or guitars, it just feels like I'm listening to really bad shoegaze.
The sound, the tone, the timbre of this recording, it's just really dull and drab and gray.
And the performances, the playing on this thing, they don't really help either.
Like the twangy and repetitive desert rock guitar leads on the track Stay in Touch.
They get very tedious, very fast.
And the only thing that really distracts from them are the horrid swells of cymbals, Paul Bank's voice,
and these weird wailing guitar leads that sound very sour.
There are also some weird rhythm guitars in the second leg that do anything but emphasize the rhythm of the track.
I hear the band making some attempts at trying some new stuff, doing something to shake things up in their typical sound,
but usually it does not go over too well.
Especially when Paul tries to switch up his vocal delivery, which in theory is not necessarily a bad thing,
but why his instincts went toward, hey, let's just hang in my upper register and get really yelpy.
Like on the song Party's Over, which was such a slog to listen to, the track almost feels like a statement on the album itself.
The party's over, please.
And even when Interpol is just resting on their laurels and trying to pull off their usual shtick,
it's really underwhelming.
The chimey driving rhythm guitars that Interpol are usually known for, like on the track Surveillance,
are really, really sloppy and come together in a pretty messy fashion.
Which is sort of a shame because it sounds like at the core of the track, we have a very good song here.
As Paul's singing on the verses kills it, and his haunting demeanor on the hook is fantastic.
His forlorn croons are really despondent.
Vocally, I think it is one of the more powerful moments on the record, but instrumentally, one of the most lackluster.
And it's one of many moments on this album where it does sound like the song is pretty decent,
but the full potential of it isn't realized because of a very lackluster presentation.
This is also an issue with the opening track, the closing track too.
There's just so much on this album that is holding it back, it's actually frustrating.
Like the super rough and squawking rhythm guitars on the track Complications.
Really the worst rhythm guitar on the entire LP, and not just because of the sour and horrid chord progression,
but the tone is super thin, overly sharp, it doesn't really enhance the rhythm of the track that much.
There were at least a handful of songs that I thought sounded pretty great from start to finish.
Interpol doing what they do well.
The song Fly to Fancy had a pretty fantastic driving groove.
The guitars and bass felt very locked in.
Solid drum beat too, Paul's vocals are captivating.
It feels dark, it feels authoritative, sort of thrilling too.
A rare moment of potent emotion on the album.
The song Mountain Child is a pretty nice slow burner with a patient introduction.
It slowly builds up with some dramatic bass and drums, and it's one of the few moments on this album where
the band throws on these extra guitars, these extra sonic layers.
It does get a little overwhelming sonically, but it's pretty enjoyable.
The band's experimental desires on this record, in a way, fully realized.
The tune at the core of this sonic chaos is pretty solid as well.
Paul's vocals on the pre-chorus when they kind of reach into that
upper register [E] and strain a bit are pretty fantastic.
The hook is one of the smoothest on the entire record.
And the song NISMO as well, I thought had some super tight playing.
The guitars, the drums, the bass, once again, super locked in on tempo.
Doesn't feel like the band are playing it super loose [Eb] for absolutely no reason at all.
Which, I mean, there is certainly an appeal to.
I have praised multiple records on here that are a little rough around the edges.
Maybe they're a little amateurish.
Maybe they're just kind of wild and out of control.
That can be great.
That can add a lot to an album.
But if that was Interpol's intention with some of the tracks on this record,
like, you could have brought it so much further than where you did.
I'm just having a hard time finding the appeal of this album because,
by the usual standards Interpol set on a record, this falls horribly short.
It is messy.
At points it feels underwritten.
The vocal performances are kind of off.
The production is very washed out.
But it's also kind of hard to see this album as a novelty or refreshing or experimental.
Because not just in the grander scheme of things,
but also within the scope of Interpol's very limited discography,
this is not very adventurous.
It just feels like a noisier and sloppier version of the band we've been listening to for all these years.
And truth be told, I could not wait for this album to be over.
I'm feeling a strong 4 to a light 5 on this thing.
Tran.
Zishin, have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best.
You're the best.
What should I review next?
Hit the like if you like.
Please subscribe and please don't cry.
Hit the bell as well.
Over here next to my head is another video that you can check out.
Hit that up or the link to subscribe to the channel.
Anthony Fantano, Interpol,
Key:
Gm
F
E
Eb
Gm
F
E
Eb
Uhhhh_
Hi everyone, Anthony Fantano here, Internet's Busiest Music Nerd,
and it's time for a review of the new Interpol album, Marauder.
This is the latest full-length album from legendary indie and post-punk band Interpol.
The band's [Gm] trajectory over the past 20 years has pretty much become a trope in popular [F] music at this point.
Band makes grand entrance into the music scene with a pretty much picture-perfect debut album,
and then they sort of spend the rest of their careers living in the shadow of that album,
never really quite being able to outdo it,
or really create anything that seems totally out of the purview of it.
Whether it be the band trying to stick to their guns for a pretty formidable follow-up on their sophomore full-length LP,
or bringing in a bunch of very syrupy, atmospheric, grand, extra-lavish instrumentation on their self-titled record in 2010,
and then going back to basics in a way on El Pintor a few years ago in 2014.
And at this point on Marauder, Interpol still kind of sounds like they are at a loss for what to do.
I was somewhat excited going into this album by the rough and wild performances I heard on teaser tracks like The Rover,
even if the mixing and Paul Banks' yelpy vocals were a bit weird.
It still seemed like the band were on the verge of something new and refreshing.
But the exciting new direction I hoped Interpol would pull through with on this album is just not here,
nor would I call this album the mild return to form that Pintor was either.
Instead, Marauder pretty much sounds like the same moody, driving post-punk that Interpol is known for,
but presented with sloppier writing, production, and performances.
There is an unnecessary amount of reverb on a lot of these tracks,
to the point where the guitars, the vocals, are really just bleeding into one another in a very unlikable way.
It's like they cancel each other out and create this bland sonic slop.
And when the band manages to throw on a few extra layers of vocals or guitars, it just feels like I'm listening to really bad shoegaze.
The sound, the tone, the timbre of this recording, it's just really dull and drab and gray.
And the performances, the playing on this thing, they don't really help either.
Like the twangy and repetitive desert rock guitar leads on the track Stay in Touch.
They get very tedious, very fast.
And the only thing that really distracts from them are the horrid swells of cymbals, Paul Bank's voice,
and these weird wailing guitar leads that sound very sour.
There are also some weird rhythm guitars in the second leg that do anything but emphasize the rhythm of the track.
I hear the band making some attempts at trying some new stuff, doing something to shake things up in their typical sound,
but usually it does not go over too well.
Especially when Paul tries to switch up his vocal delivery, which in theory is not necessarily a bad thing,
but why his instincts went toward, hey, let's just hang in my upper register and get really yelpy.
Like on the song Party's Over, which was such a slog to listen to, the track almost feels like a statement on the album itself.
The party's over, please.
And even when Interpol is just resting on their laurels and trying to pull off their usual shtick,
it's really underwhelming.
The chimey driving rhythm guitars that Interpol are usually known for, like on the track Surveillance,
are really, really sloppy and come together in a pretty messy fashion.
Which is sort of a shame because it sounds like at the core of the track, we have a very good song here.
As Paul's singing on the verses kills it, and his haunting demeanor on the hook is fantastic.
His forlorn croons are really despondent.
Vocally, I think it is one of the more powerful moments on the record, but instrumentally, one of the most lackluster.
And it's one of many moments on this album where it does sound like the song is pretty decent,
but the full potential of it isn't realized because of a very lackluster presentation.
This is also an issue with the opening track, the closing track too.
There's just so much on this album that is holding it back, it's actually frustrating.
Like the super rough and squawking rhythm guitars on the track Complications.
Really the worst rhythm guitar on the entire LP, and not just because of the sour and horrid chord progression,
but the tone is super thin, overly sharp, it doesn't really enhance the rhythm of the track that much.
There were at least a handful of songs that I thought sounded pretty great from start to finish.
Interpol doing what they do well.
The song Fly to Fancy had a pretty fantastic driving groove.
The guitars and bass felt very locked in.
Solid drum beat too, Paul's vocals are captivating.
It feels dark, it feels authoritative, sort of thrilling too.
A rare moment of potent emotion on the album.
The song Mountain Child is a pretty nice slow burner with a patient introduction.
It slowly builds up with some dramatic bass and drums, and it's one of the few moments on this album where
the band throws on these extra guitars, these extra sonic layers.
It does get a little overwhelming sonically, but it's pretty enjoyable.
The band's experimental desires on this record, in a way, fully realized.
The tune at the core of this sonic chaos is pretty solid as well.
Paul's vocals on the pre-chorus when they kind of reach into that
upper register [E] and strain a bit are pretty fantastic.
The hook is one of the smoothest on the entire record.
And the song NISMO as well, I thought had some super tight playing.
The guitars, the drums, the bass, once again, super locked in on tempo.
Doesn't feel like the band are playing it super loose [Eb] for absolutely no reason at all.
Which, I mean, there is certainly an appeal to.
I have praised multiple records on here that are a little rough around the edges.
Maybe they're a little amateurish.
Maybe they're just kind of wild and out of control.
That can be great.
That can add a lot to an album.
But if that was Interpol's intention with some of the tracks on this record,
like, you could have brought it so much further than where you did.
I'm just having a hard time finding the appeal of this album because,
by the usual standards Interpol set on a record, this falls horribly short.
It is messy.
At points it feels underwritten.
The vocal performances are kind of off.
The production is very washed out.
But it's also kind of hard to see this album as a novelty or refreshing or experimental.
Because not just in the grander scheme of things,
but also within the scope of Interpol's very limited discography,
this is not very adventurous.
It just feels like a noisier and sloppier version of the band we've been listening to for all these years.
And truth be told, I could not wait for this album to be over.
I'm feeling a strong 4 to a light 5 on this thing.
Tran.
Zishin, have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best.
You're the best.
What should I review next?
Hit the like if you like.
Please subscribe and please don't cry.
Hit the bell as well.
Over here next to my head is another video that you can check out.
Hit that up or the link to subscribe to the channel.
Anthony Fantano, Interpol,
Hi everyone, Anthony Fantano here, Internet's Busiest Music Nerd,
and it's time for a review of the new Interpol album, Marauder.
This is the latest full-length album from legendary indie and post-punk band Interpol.
The band's [Gm] trajectory over the past 20 years has pretty much become a trope in popular [F] music at this point.
Band makes grand entrance into the music scene with a pretty much picture-perfect debut album,
and then they sort of spend the rest of their careers living in the shadow of that album,
never really quite being able to outdo it,
or really create anything that seems totally out of the purview of it.
Whether it be the band trying to stick to their guns for a pretty formidable follow-up on their sophomore full-length LP,
or bringing in a bunch of very syrupy, atmospheric, grand, extra-lavish instrumentation on their self-titled record in 2010,
and then going back to basics in a way on El Pintor a few years ago in 2014.
And at this point on Marauder, Interpol still kind of sounds like they are at a loss for what to do.
I was somewhat excited going into this album by the rough and wild performances I heard on teaser tracks like The Rover,
even if the mixing and Paul Banks' yelpy vocals were a bit weird.
It still seemed like the band were on the verge of something new and refreshing.
But the exciting new direction I hoped Interpol would pull through with on this album is just not here,
nor would I call this album the mild return to form that Pintor was either.
Instead, Marauder pretty much sounds like the same moody, driving post-punk that Interpol is known for,
but presented with sloppier writing, production, and performances.
There is an unnecessary amount of reverb on a lot of these tracks,
to the point where the guitars, the vocals, are really just bleeding into one another in a very unlikable way.
It's like they cancel each other out and create this bland sonic slop.
And when the band manages to throw on a few extra layers of vocals or guitars, it just feels like I'm listening to really bad shoegaze.
The sound, the tone, the timbre of this recording, it's just really dull and drab and gray.
And the performances, the playing on this thing, they don't really help either.
Like the twangy and repetitive desert rock guitar leads on the track Stay in Touch.
They get very tedious, very fast.
And the only thing that really distracts from them are the horrid swells of cymbals, Paul Bank's voice,
and these weird wailing guitar leads that sound very sour.
There are also some weird rhythm guitars in the second leg that do anything but emphasize the rhythm of the track.
I hear the band making some attempts at trying some new stuff, doing something to shake things up in their typical sound,
but usually it does not go over too well.
Especially when Paul tries to switch up his vocal delivery, which in theory is not necessarily a bad thing,
but why his instincts went toward, hey, let's just hang in my upper register and get really yelpy.
Like on the song Party's Over, which was such a slog to listen to, the track almost feels like a statement on the album itself.
The party's over, please.
And even when Interpol is just resting on their laurels and trying to pull off their usual shtick,
it's really underwhelming.
The chimey driving rhythm guitars that Interpol are usually known for, like on the track Surveillance,
are really, really sloppy and come together in a pretty messy fashion.
Which is sort of a shame because it sounds like at the core of the track, we have a very good song here.
As Paul's singing on the verses kills it, and his haunting demeanor on the hook is fantastic.
His forlorn croons are really despondent.
Vocally, I think it is one of the more powerful moments on the record, but instrumentally, one of the most lackluster.
And it's one of many moments on this album where it does sound like the song is pretty decent,
but the full potential of it isn't realized because of a very lackluster presentation.
This is also an issue with the opening track, the closing track too.
There's just so much on this album that is holding it back, it's actually frustrating.
Like the super rough and squawking rhythm guitars on the track Complications.
Really the worst rhythm guitar on the entire LP, and not just because of the sour and horrid chord progression,
but the tone is super thin, overly sharp, it doesn't really enhance the rhythm of the track that much.
There were at least a handful of songs that I thought sounded pretty great from start to finish.
Interpol doing what they do well.
The song Fly to Fancy had a pretty fantastic driving groove.
The guitars and bass felt very locked in.
Solid drum beat too, Paul's vocals are captivating.
It feels dark, it feels authoritative, sort of thrilling too.
A rare moment of potent emotion on the album.
The song Mountain Child is a pretty nice slow burner with a patient introduction.
It slowly builds up with some dramatic bass and drums, and it's one of the few moments on this album where
the band throws on these extra guitars, these extra sonic layers.
It does get a little overwhelming sonically, but it's pretty enjoyable.
The band's experimental desires on this record, in a way, fully realized.
The tune at the core of this sonic chaos is pretty solid as well.
Paul's vocals on the pre-chorus when they kind of reach into that
upper register [E] and strain a bit are pretty fantastic.
The hook is one of the smoothest on the entire record.
And the song NISMO as well, I thought had some super tight playing.
The guitars, the drums, the bass, once again, super locked in on tempo.
Doesn't feel like the band are playing it super loose [Eb] for absolutely no reason at all.
Which, I mean, there is certainly an appeal to.
I have praised multiple records on here that are a little rough around the edges.
Maybe they're a little amateurish.
Maybe they're just kind of wild and out of control.
That can be great.
That can add a lot to an album.
But if that was Interpol's intention with some of the tracks on this record,
like, you could have brought it so much further than where you did.
I'm just having a hard time finding the appeal of this album because,
by the usual standards Interpol set on a record, this falls horribly short.
It is messy.
At points it feels underwritten.
The vocal performances are kind of off.
The production is very washed out.
But it's also kind of hard to see this album as a novelty or refreshing or experimental.
Because not just in the grander scheme of things,
but also within the scope of Interpol's very limited discography,
this is not very adventurous.
It just feels like a noisier and sloppier version of the band we've been listening to for all these years.
And truth be told, I could not wait for this album to be over.
I'm feeling a strong 4 to a light 5 on this thing.
Tran.
Zishin, have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best.
You're the best.
What should I review next?
Hit the like if you like.
Please subscribe and please don't cry.
Hit the bell as well.
Over here next to my head is another video that you can check out.
Hit that up or the link to subscribe to the channel.
Anthony Fantano, Interpol,