• Record Label: Capitol
  • Release Date: Jul 10, 2007
User Score
8.2

Universal acclaim- based on 337 Ratings

User score distribution:
  1. Negative: 20 out of 337

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  1. OliverC.
    Jul 12, 2007
    6
    Interpol's worst album yet. If it was from any other band it would get a 7, but for interpol, who had never previously recorded a bad song, to come out with this is a shame. Rest My Chemistry is an abomination IMO. Still, there are some gems.
  2. JorisV.
    Dec 1, 2007
    5
    Mostly generic and dissapointing follow-up to Antics and their absolute masterpiece Turn On The Bright Lights, with the occasional flash of brilliance that is "Pace Is The Trick". "Rest My Chemistry" (Paul Banks still has to be one of our best contemporary lyricists), the straight-forward vintage interpol-sounding "Who Do You Think" and haunting closer "Lighthouse" are my other personal Mostly generic and dissapointing follow-up to Antics and their absolute masterpiece Turn On The Bright Lights, with the occasional flash of brilliance that is "Pace Is The Trick". "Rest My Chemistry" (Paul Banks still has to be one of our best contemporary lyricists), the straight-forward vintage interpol-sounding "Who Do You Think" and haunting closer "Lighthouse" are my other personal favourites and save this disc from plain mediocricity. Songs however like the directionless 'The Scale" and the awful "All Fired Up" aren't even B-sides worthy and imo a blamage to a very good band. Overall a 5,5/10. Expand
  3. ChrisC
    Jul 15, 2007
    4
    It's sounds like Interpol without all those things Interpol does to be different and engaging. Which makes it just run of the mill Oughties indie. Weak.
  4. nash
    Feb 4, 2009
    6
    Oh dear. Aren't bands supposed to improve over time? it seems that Interpol have regressed some what and I doubt they will ever reach the highs of TOTBL. There are some good songs but the others are mediocre so say the least.
  5. MattD.
    Jul 10, 2007
    4
    Wow, this just sounds phoned in. I never thought the riffs would be so repetitive and boring. Never does the album soar like Antics did. It sounds like a 5, but I took off a point for lack of effort.
  6. AlanM
    Jul 11, 2007
    5
    Middle of the road at best.
  7. dragonflypills
    Jul 10, 2007
    5
    After listening to this album from beginning to end about a dozen times now, I can conclude this is an extremely mediocre album. After releasing their debut masterpiece Turn On The Bright Lights in 2002, Interpol unknowingly set off a watershed of post-punk rockers culling the territory mined by bands such as Joy Division, Echo & The Bunnymen, New Order, and The Cure in the late 70s and After listening to this album from beginning to end about a dozen times now, I can conclude this is an extremely mediocre album. After releasing their debut masterpiece Turn On The Bright Lights in 2002, Interpol unknowingly set off a watershed of post-punk rockers culling the territory mined by bands such as Joy Division, Echo & The Bunnymen, New Order, and The Cure in the late 70s and 80s. With all the Franz Ferdinands, Killers, Editors and Braverys in the world streaming a re-energized enthusiasm for 80s synth-washes with more modern dance hooks, Interpol perhaps felt threatened in their role as avatars of the post-punk revival. With Our Love To Admire, it seems fairly obvious now that for the most part, Interpol have exhausted their muse. As they did with Antics, they seem determined to water down their own signature sound into what they believe will be more palatable to masses and compete on the floors of alt-rock dance clubs. The result is that Our Love To Admire comes off as some kind of Interpol-Lite: 2/3s of the album are comprised of the same formulaic up-tempo, brooding-Killers pastiche that defined Antics. However, there are moments here that are extremely worthwhile to any Interpol fan. The best songs on this album are the ones that Interpol allow to expand: opener "Pioneer" is transcendent with its wailing walls of guitar, the clean orchestrations, and the kind of unresolved tension and anti-climax that recalls the best aspects of Bright Lights. And while other standouts "No I In Threesome," "Mammoth, "Wrecking Ball" and "The Lighthouse" may excel sonically, the album as a whole disappoints lyrically. Paul Banks' vocals are front-and-center in the mix (where did Carlos D go??), and more versatile (read: less monotonous) than on previous outings, but his lyrics obsessing over coked-out groupies and his own self-indulgent rock-star lifestyle are embarrassing, and pale in comparison to the vivid and violent imagery that defined Bright Lights and provided the sole cohension on Antics. Cringe-worthy lyrics, and only modest developments musically, 5/10 is extremely generous. Expand
  8. IainM
    Jul 20, 2007
    5
    This album is nowhere near as good as expected, a lacklustre and slightly turgid offering.
  9. HoratioS
    Jul 6, 2007
    6
    A catchy and rewarding listen. It even makes up for the fact that they stole their album artwork from an obscure foreign band. I was not a fan of Turn On the Bright Lights or Antics but this one has a few tracks that would sound amazing in a stadium which they could easily sell out.
  10. jacokk.
    Jul 6, 2007
    5
    Very, very poor album. Best tracks: 1,10,11
  11. maesg.
    Jul 8, 2007
    6
    The only progression this band has made is moving from the "joy division/ 80's)" section of the music spectrum to the 50's 60's pop tracks. They may name track with edgy titles like "Theres No I in Threesome" but the track's skeleton is comparable to CCR, etc
  12. CraigW.
    Jul 11, 2007
    4
    I predict a lack of staying power in this one unlike the last two
  13. MattW.
    Jul 12, 2007
    6
    A huge disappointment. The Heinrich Maneuver was a nice tease, but upon listening to this album enough times that it should have grabbed me by now, it's just felt flat compared to their other two albums. The comments circulating here about the lackluster rhythm section are absolutely right on; especially if you've seen Interpol live, Carlos D and Sam Fogarino are amazing A huge disappointment. The Heinrich Maneuver was a nice tease, but upon listening to this album enough times that it should have grabbed me by now, it's just felt flat compared to their other two albums. The comments circulating here about the lackluster rhythm section are absolutely right on; especially if you've seen Interpol live, Carlos D and Sam Fogarino are amazing together and they just fade to the background on this album. The only reason I'm giving this a '6': "Rest My Chemistry," the one song on this disk that harkens back to the spacious, hypnotic quality of Turn on the Bright Lights. Expand
  14. smithsgirl
    Jul 17, 2007
    6
    It's not a bad album, that's for sure, but it doesn't come close to their first two. I've listened a few times now, and frustratingly, I feel I should like it more than i do; Our Love simply hasn't hooked me in yet. Good music should, of course, challenge us, but not to the extent where listening is a chore! Hopefully a couple of months from now I will be It's not a bad album, that's for sure, but it doesn't come close to their first two. I've listened a few times now, and frustratingly, I feel I should like it more than i do; Our Love simply hasn't hooked me in yet. Good music should, of course, challenge us, but not to the extent where listening is a chore! Hopefully a couple of months from now I will be declaring it the best album of 2007..... Expand
  15. BrookeO.
    Jul 18, 2007
    5
    I agree with the review. Was really looking forward to this, but I am very displeased. Sounds like a band that has run out of ideas, but still trying really hard to come up with something that is "important' and "relevant". Personally, I think the new Editors album blows this out of the water!
  16. kn
    Jul 30, 2007
    6
    Far from bad; however, the boys of Interpol need to turn on the bright lights that caught our attention in the first place. As it is, Our Love To Admire is one of those albums fans are bound to love and everyone else will simply wonder what the hot fuss is all about. And yes, it sounds exactly like their first two albums--to the point of frustration.
  17. IanC.
    Jul 9, 2007
    5
    OLTA meanders within the same digitally delayed, Joy Division realm as usual, but doesn't evoke the same emotions at all. Bright Lights gets a 9 or 10, Antics gets a 6 or 7, and this gets a 5 at best. Some nice little harmonic moments but overall this one is forgettable.
  18. kdevilh
    Aug 14, 2007
    4
    i listened to it about three times through... and that was enough. You'll find much of the same content and detached feeling on their second effort, Antics, only with slightly less successful results. I gave them two chances - but no more.
  19. ElliottM
    Jul 11, 2007
    5
    Fatally overproduced.
  20. Philip
    Jul 11, 2007
    6
    Depressing to listen to given their past work. You can tell yourself it's just a change of direction, but it's hard to not call that sugarcoating. Play this album and then follow it with anything from Turn on the Bright Lights and you will see how much more they used to care.
  21. JoeT.
    Jul 13, 2007
    4
    The band pile on more instruments and let the spaces between 'em breathe less with each album. This is musical progression? I miss the dreamy vistas of their debut. They could have gone somewhere interesting after that one...
  22. cables
    Jul 14, 2007
    4
    a crushing disappointment.
Metascore
70

Generally favorable reviews - based on 37 Critic Reviews

Critic score distribution:
  1. Positive: 25 out of 37
  2. Negative: 2 out of 37
  1. The black-clad New York quartet still sounds inflexibly menacing, grasping tighter than ever to its doomy post-punk influences and delving further into frontman Paul Banks's emotional unrest.
  2. Our Love to Admire fleshes out the dark edges of Interpol's sound to create a polished, muscular-sounding record that teems with life and bristling potency.
  3. With giant gyrating reverberated guitars and a grandiose brass section, this is the sound of a rock band attempting the sweeping gallantry of Sibelius or Tchaikovsky and getting away with it. It represents a smugly victorious ending to what is a phenomenally strong and well-polished album.