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DOWNLOAD FULL ZIP ALBUM: Interpol – Marauder ZIPPYSHARE MP3 Marauder is Interpol’s sixth studio LP and follows the release of 2014’s El Pintor which achieved critical acclaim. During a press conference which took place in Mexico City, Paul Banks said the name “Marauder” comes from a character which appears in a number of the songs. Antics is the second studio album by American rock band Interpol.It was released on September 27, 2004, through Matador Records.The album went on to sell 488,000 copies in the US and over 100,000 in the UK. It made the top 10 list of several music critics for the year of 2004.

My unquestionable love for ’s 2002 debut has led me to do questionable things. I’ve continued to go to their shows despite being annoyed the first time seeing them when they all lit cigarettes in unison—an unnecessarily synchronized gesture that made me realize that no matter how the music made me feel, there was something contrived competing with authenticity. Then, there were the many hours I wasted circa 2004 monitoring eBay auctions in the hopes of procuring an Antics era vinyl box set, which was only otherwise available at Interpol art shows in a few select cities.

I think I can still get behind the concept, but another part of me wants to scream, “Pretentious!” But, then there’s the admitted flutter of excitement I feel when I hear new Interpol music is on the way. It isn’t quite rational since none of their albums have enthralled me the way that the first one did.

Antics was a solid sophomore effort, with whip-around-with-abandon tracks I still crave. And their fourth, self-titled album was surprisingly seductive—strong evidence the band hadn’t lost their talent for siring dark brilliance. But, I’m ambivalent about much of their work, including their third album, Our Love to Admire (2007), and their fifth, El Pintor (2014). Both are innocuous enough in the moment, but I’m guessing these efforts didn’t win many new fans. Yet, sixteen years after their now legendary debut, Interpol don’t necessarily have anything to prove. By account of critics and fans (myself included), Turn on the Bright Lights is a sensational album, capturing the pained, but defiant spirit of the greatest city in the world in the wake of 9/11.

And, since then, they’ve crafted dozens of songs in their definitive aesthetic to warrant occasional attention and passing listens. Sadly, the problem is Interpol have never really progressed. Their ability to conjure atmosphere in the vein of seminal post-punk outfits like Joy Division and Echo & the Bunnymen felt strangely refreshing and inspired at the turn of the millennium. The chemistry between vocalist/guitarist Paul Banks, guitarist Daniel Kessler, bassist Carlos Dengler and percussionist Sam Fogarino was scintillating (not that it justifies the choreographed cigarette lighting!). In their early days, Interpol didn’t just sound amazing. They also seemed to possess depth—that necessary, but intangible quality which makes music powerful, moving and lasting.