More than fifteen years after Turn On the Bright Lights, the stroke of genius of the year 2002 and masterpiece of the postpunk revival, the quartet Interpol has become a trio, and is back with Marauder. Since Antics, the New Yorkers had shelled out two average albums Our Love to Admire and Interpol, and the lovely El Pintor, without Carlos D., going back to their first loves. Long, hollow at times, this latest effort could well be cut in half and still be as good. Despite with a forgettable pop first half (Mountain Child, Stay in Touch, Flight of Fancy), it features the distinctive “Interpol sound” (The Rover) and ends with the expressive It Probably Matters and Party’s Over. Two breathes in the opus, Interludes 1 and 2 pay homage to Turn On the Bright Lights and its strange Obstacles 1 and 2. There’s even something for the fans, as Banks reveals an autobiographical aspect: “I feel like now, I'm able to romanticize parts of my own life.” Once again, Interpol took care of the production. Following in the footsteps of Our Love to Admire and Interpol with Alan Moulder, the band worked with Dave Fridmann, a former collaborator of Flaming Lips and Mercury Rev, and experienced producer. While it is now clear Interpol can exist without Carlos D., it remains to be seen whether they can diversify their formula.