‘Interpol’ never turns on the bright lights

Interpol’s self-titled, fourth studio release is exactly what you expect from the band. The rockers are still dark, weird and ingeniously capable of making emptiness seem full. “Interpol” is no “Turn on the Bright Lights,” but it still has its share of epic moments. “Barricade,” the album’s single, appropriately leads the compilation. Carlos Dengler’s bouncing basslines paired with the prominent sparks of guitar keep the track alive and healthy. “Try It On,” while not as electrified, is a model of what the entire album should orient itself toward. Unfortunately, Interpol doesn’t stick with the upbeat feel. Much of the album seems too largely a drone, the tracks coming off as a tired diatribe rather than an interesting elaboration.

“Interpol” attempts to be epic but often falls short of its goal. “Lights” is a perfect example of the band’s tendency to slowly build, growing steadily by continuously adding subtlety. The problem is it doesn’t ever explode, and everyone knows for something to be epic, it has to burst into a conflagration of instruments and fury. Where’s the explosion?