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It feels like half of an album by a band making sure their songs that fit the mold of what they've done before, and half of an album by a band using their major-label leverage to push their boundaries.
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When it works, it's undoubtedly impressive: impressive enough, in fact, to counter the fact that Interpol are pretty light on ideas of their own.
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Admire feels oddly reined in, a transitional record by a band not yet willing to completely let go of the past.
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Admire finds the band's balance shifting significantly; the rhythm players often seem more like glorified session men than integral components of a sleek post-punk machine.
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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.
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BlenderIn 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. [August 2007, p.114]
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Here's the solid, understated third album that digs in without trying to break new ground.
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Even the best songs of Our Love To Admire can’t reach the boggling complexity and honesty of most anything from "Turn On The Bright Lights" (2002).
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Our Love to Admire is the perfect soundtrack for an eighth grade dance, but for actual adults who know better, it’s best to avoid this mess.
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The psych guitar closing "The Scale" and "Mammoth" work well, but Our Love to Admire could use more Carlos D.'s low-end bass/keyboard flourishes. Perhaps it's time to turn the lights out.
Awards & Rankings
User score distribution:
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Positive: 285 out of 337
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Mixed: 32 out of 337
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Negative: 20 out of 337
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Jul 9, 2020This is in my opinion Interpol's best album. Their 'OK Computer', in a way.
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Dec 30, 2014
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Sep 16, 2019