Interpol Our Love To Admire Full Album Torrent
. ' Released: May 7, 2007. ' Released: September 3, 2007. 'No I in Threesome' Released: 2007 (promotional) Our Love to Admire is the third studio album by American band, released on July 10, 2007 on. Recorded at in and The Magic Shop Studios in, the album is the group's first to be released on a major label.
On April 25, 2007 the band officially announced the album title as Our Love to Admire as well as the track listing. The first single off the new album, ', was released on May 7, 2007. The album was re-released with a bonus DVD in the UK and Mexico on November 19, 2007, featuring music videos for 'The Heinrich Maneuver' and 'No I in Threesome' as well as live performances from the Astoria.
This audio song duration is 47:05 minutes. This song is sing by Our Love to Admire.
Contents. Background Since Interpol's contract with had expired, it was initially speculated that Interpol would sign with. However, rejected these claims as 'pure speculation'. It was later confirmed that the band would sign to a major label, though they chose over. The album was produced by, who is notable for his work with on and, as well as on. 'Pioneer to the Falls' featured as the closing music track in season 7, episode 10, 'Persona'. Sound According to band members, Our Love to Admire is more 'expressive' than the group's previous efforts.
We had keyboards on from the start which we've never done before. It's like a fifth member. There's a lot more texture, and interesting sounds, there's definitely progression and growth. —, in an interview. Prior to the album's release, offered the following brief descriptions of some of the band's new songs: First single 'The Heinrich Maneuver' is a peppy kiss-off to an ex-love now residing on the opposite coast and hits radio May 7; the band has been playing it of late during its just-concluded Canadian tour.
The band is on familiar footing with tracks like the tense 'No I in Threesome' ('Maybe it's time we give something new a try,' frontman Paul Banks sings) and the relentless 'Mammoth,' which are loaded with Daniel Kessler's simple, repeated guitar riffs and Carlos D's powerful bass underpinnings. There are some new sonic experiments; the album begins with the funereal, nearly six-minute 'Pioneer to the Falls,' featuring Jim Morrison-esque crooning from Banks, and wraps with another unusually ambient piece, 'The Lighthouse.' Hints of soul creep in on the spaced-out 'Rest My Chemistry' ('I haven't slept for two days / I've bathed in nothing but sweat,' Banks sings) and 'Pace Is the Trick.' — article on the band's upcoming release. Leaks Sometime in March 2007, an album called Mammoth, attributed to Interpol, appeared on networks. However, the album was actually a renamed copy of Exit Decades, recorded by band.
Due to some similarities in style between those two bands, this 'fake leak' was quite convincing to some listeners. There was another false leak—a renamed version of by with 'The Heinrich Maneuver' included on it. The song 'The Heinrich Maneuver' was in its entirety from 's music blog, a few days before the single's official release. Rips of this stream were widely circulated through the internet via P2P clients. On June 16, 2007, 'The Scale', 'All Fired Up' and 'Rest My Chemistry' were leaked through MySpace in low quality audio.
On June 20 'Pioneer to the Falls' was released on, as a stream. On June 21, 2007, the complete album was leaked onto P2P networks. Critical reception Professional ratings Aggregate scores Source Rating (70/100) Review scores Source Rating 9/10 A− 8/10 6.0/10 4/10 4/5 Our Love To Admire received mostly positive reviews from music critics, although it was more polarizing compared to the band's previous releases. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 70/100, based on 37 professional critic reviews, which indicates 'generally favorable reviews'.
Gave it all five stars and said, 'The band have colonised the rich turf at the intersection of meticulously structured mope-rock and free-flowing three-chord pop, where moments of resignation cosy up alongside twinkling hopes for the future like Winehouse to the sauce.' Gave it a favorable review and said that the album 'makes for hugely rewarding listening.' Gave the album four stars out of five and called it 'a majestic, grandiose, machine-tooled album, subtly orchestrated with gothic pianos and doomy organs.' Also gave it four stars out of five and called it 'the type of strung-out confession that fills the junkie mold of classic Bright Lights Interpol-a welcomed revival after the wayward Antics.'
Likewise gave the album four stars out of five and said that 'In terms of writing and production, this may be Interpol at their best.' Gave it a favorable review and said that the band 'retains its flair for dramatic images and ominous guitar lines on its major-label debut, but with producer/ mixer Rich Costey onboard, these signatures uncoil into more complex soundscapes.' Gave it a positive review and said that Interpol are 'tighter than a laser-guided smart bomb, the beats are more swingy, and Carlos D's bass and keys are even more expressive and swooning.' Likewise gave it a favorable review and said, 'The foreboding melancholy of 'Turn on the Bright Lights' has eroded into a sound that's less idiosyncratic; by design or accident, that broad-brush aesthetic coincides with the band's move from an indie label (Matador) to a major one (Capitol).' And both gave the album a score of four stars out of five. Gave the album three stars out of four and called it 'well worth exploring'. Gave it a B and said it 'delivers exactly what's promised, which for fans will be exactly enough.'
Gave the album seven stars out of ten and said it 'isn't going to change many minds-those who already liked the band will find plenty to please, and vice versa.' No Ripcord also gave it seven stars and said the album's lesser tracks 'seem to have placed a greater emphasis on texture than melody or even rhythm, which is arguably the band’s most potent weapon. As a whole, though, Sam Fogarino will be satisfied.'
Gave the album three-and-a-half stars out of five and said that it 'may not be the band's Sgt. Pepper, but it's still filled with morbidly catchy treats.' Gave it a positive review and said that 'Somehow the band manages to sound insincere and gorgeous at the same time.' Prefix Magazine also gave it a positive review and said it 'sounds more or less like the last two CDs, and that's its biggest problem.' Other reviews are average, mixed or negative: gave the album six stars out of ten and said of Interpol: 'Crucially, it seems their ability to write a magisterially moving song such as 'NYC' or 'Obstacle No 1', both from their debut, seems to have abandoned them.
In fairness, sonically speaking, this is their best effort yet.' Gave it three stars out of five and also said of Interpol: 'In fleshing out the contours of a sound once slavishly indebted to early-'80s titans like JD and the Smiths, they've nuanced the moods Banks moons over. Awesome for him.
Only so-so for us.' Gave it a score of six out of ten and called it 'oddly reined in' and 'a transitional record by a band not yet willing to completely let go of the past.' Gave it three stars out of five and called it 'undoubtedly impressive: impressive enough, in fact, to counter the fact that Interpol are pretty light on ideas of their own.' Gave the album two stars out of five and said it 'could use more Carlos D.' S low-end bass/keyboard flourishes. Perhaps it's time to turn the lights out.'
Gave it one-and-a-half stars out of five and said it 'isn’t even a contractual obligation to push off without care.' Gave it a D saying that 'they ape New Order's 'Movement,' surely that combo's most static and dullest album.
Interpol Our Love To Admire Deluxe Torrent
Dengler and rather good drummer Sam Fogarino don't get many chances to shine, letting guitarist Daniel Kessler create the kind of textures that often get mistaken for progress.' Commercial performance The album has scored Interpol's best chart positions in their career, debuting inside the top five of the UK & US album charts, reaching number-three on the European Albums Chart and selling over 154,000 copies of their album in its first week worldwide.
The album debuted at #4 on the, selling 73,000 copies, but then dropped to #26 the next week with 22,000 copies. After 10 weeks, the album dropped off the chart, but by January 2009 it had sold 209,000 copies. It's notable that while the band's third album has sold far fewer copies in the U.S. Than their previous two did - the others have each moved close to 500,000 units - Our Love to Admire is still Interpol's highest-charting disc. It has also sold 518,000 copies worldwide. Track listing All tracks written by Interpol. Title Length 1.
'Pioneer to the Falls' 5:41 2. 'No I in Threesome' 3:51 3. 'The Scale' 3:33 4.
'Pace Is the Trick' 4:43 7. 'All Fired Up' 3:35 8. 'Rest My Chemistry' 5:00 9. 'Who Do You Think' 3:12 10. 'Wrecking Ball' 4:33 11.
'The Lighthouse' 5:25 Total length: 47:05 Japanese edition bonus tracks No. Title Length 12. 'Mind Over Time' 4:49 13.
Interpol – El Pintor 3.5/5 2014 El Pintor may mean “the painter” in Spanish, frontman Paul Banks’ second language, but it’s also a scramble of “Interpol.” This would seem to signal that the band, now a trio, is ready to mix things up, perhaps taking a cue from the stylistic diversions that bubbled up on the fringes of their. Instead, El Pintor reveals that in the past four years—the band’s longest gap between records—the band have lost their bassist but not their identity or sensibility, dwelling in the same seductive shadows they always have. Interpol are often criticized for their singular focus, for how they honed their sound on the brilliant Turn On The Bright Lights, turned up the tempo for Antics, and then haven’t touched the formula much since. (For all the griping about how they ripped off Joy Division in 2002, turns out they’ve got the last laugh: few bands then or now sound particularly like them, proving they were do something more distinctive than their detractors were willing to admit.) If the songwriting is strong, maintaining a style isn’t necessarily a problem. And more than anything, that’s why Our Love To Admire and Interpol are decent but uneven listens: They each offer a sprinkling of tracks that hint at greatness, illustrating that if Interpol just got out of their own way and wrote a great set of songs, they might reach another career peak. El Pintor, on its outset, seems to promise that.
It’s punchier; they’ve trimmed the fat that occasionally bloated their recent work, and at 39 minutes, it’s their shortest album yet. The slow-building, uptempo tracks here harken back to Antics, and with the title of “Breaker 1” deliberately referencing “Obstacle 1,” there’s the sense that Interpol are trying to get back in touch with their glory days, even with the loss of Carlos D. The opening gambit of “All The Rage Back Home” and “My Desire” starts things off promisingly too. The first is a fine example of a latter-day Interpol single, complete with Banks repeating a short phrase (this time it’s “I keep falling/maybe half the time”) as the track crescendos in a torrent of sinewy guitar lines, while “My Desire” relishes in the high drama and frustrated catharsis from Turn On The Bright Lights that’s been in short supply since. No, they never reach the heights of their best work here, yet if these songs are more “Take Me On A Cruise” than “PDA,” so be it. Interpol have always had their fair share of worthy deep cuts, and the rest of El Pintor follows the same pattern, feeling more like a solid, if not immediate, collection of B-sides.
Our Love To Admire Torrent
Interpol – Interpol 3/5 2010 Whenever a band releases an eponymous album, the idea is that the record is definitive of the band’s sound. This doesn’t necessarily mean it is the best album in a band’s discography but one that gives a good example of what they are all about. So it doesn’t come as much of a surprise that Interpol ends up being a bit of summation of Interpol’s career so far, touching upon everything the band has done in the past. They even moved back to their old label, Matador, to release the record. The intoxicating urgency of Turn On The Bright Lights, the upbeat, danceable rhythms incorporated into Antics, and the sonic ambitions of Our Love To Admire take their shape here in one form or another.
Some of the sleek but sub-par songwriting that marred Our Love also affects some of the tracks here, but fortunately this is an altogether tighter and more focused listen. “Barricade,” with its anthemic chorus, could easily fit into either of the band’s first two albums, and opener “Success” also lives up to its name, taking advantage of Interpol’s knack for dark elegance. Yet, for every success is a tuneful but forgettable song like “Summer Well” and “Safe Without.” The problem with these songs—and with Interpol in general—is that, because the band traces back over their older work, they offer nothing new.
Instead, they only serve as an example of the band’s sonic blueprint but don’t have the memorable songwriting to make them worthwhile. It is only when Interpol try something different that the album becomes more interesting than a retrospective. The insistent “Lights,” which gradually builds to a stomping chant of “That’s why I hold you, dear,” is just about the best moment on the album.
Our Love To Admire Lyrics
The keyboard loop on “Try It On” and “The Undoing”‘s mourning brass and Spanish-language verses point toward other directions Interpol could go in the future. Considering the retrospective feel of the album and the departure of founding bassist Carlos Dengler, self-titling the album may also signal that the band are ready to move on to pursue the new sounds hinted at here. Interpol may please fans as it showcases something familiar, but it gives the overall impression that it is the end of an era. It’s quite frankly a relief, though, as Interpol don’t really seem to have their hearts in mining the same sounds they used to.