Interpol is an American rock band that emerged in the early 2000s with a distinctive sound and style that quickly captured the attention of music fans worldwide. The band’s music is characterized by haunting lyrics, intricate guitar work, and a post-punk revival sound that pays homage to the genre’s pioneers while also pushing the boundaries of modern rock. Over the years, Interpol has released a series of critically acclaimed albums that have cemented their place as one of the most influential and innovative bands of the 21st century.
One of the hallmarks of Interpol’s music is their ability to create songs that are both emotionally resonant and intellectually stimulating. Their lyrics are often enigmatic and allusive, touching on themes of love, loss, alienation, and existential dread. At the same time, their music is infused with a sense of urgency and raw energy that is impossible to ignore. Interpol’s songs are filled with hooks, riffs, and choruses that are designed to get stuck in your head and keep you coming back for more.
In this article, we will be exploring the 10 best Interpol songs of all time. These are the tracks that have helped to define the band’s sound and style, and that continue to resonate with fans years after their initial release. From early classics like “Obstacle 1” and “PDA” to later hits like “All the Rage Back Home” and “The Rover,” we will be taking a deep dive into the world of Interpol’s music and exploring what makes these songs so special. Whether you’re a die-hard Interpol fan or a casual listener, this article is sure to provide insights and appreciation for the band’s incredible body of work. So sit back, relax, and get ready to discover the 10 best Interpol songs of all time.
1. “Obstacle 1”
“Obstacle 1” is a song by the American indie rock band Interpol, released as a single from their debut album “Turn on the Bright Lights” in 2002. The track features driving guitar riffs, propulsive drums, and singer Paul Banks’ distinctive baritone vocals, which explore themes of desire, obsession, and the barriers that stand in the way of connection.
The song’s lyrics are cryptic and open to interpretation, with lines like “I’ve got this sentimental heart that beats / But I don’t really mind that it’s starting to get to me now” hinting at a deep emotional longing. The chorus, which repeats the line “She can read, she’s bad,” suggests a relationship that is fraught with tension and imbalance, with one person holding power over the other.
Despite its dark themes, “Obstacle 1” is a catchy and energetic rock song that showcases Interpol’s signature sound. The track has been widely praised for its atmospheric production and the band’s tight musicianship, and it remains a fan favorite to this day.
2. “PDA”
“PDA” is a song by the American indie rock band Interpol, featured on their debut album “Turn on the Bright Lights” in 2002. The track is characterized by its driving rhythm section, jagged guitar lines, and singer Paul Banks’ distinctively moody vocals.
Lyrically, “PDA” explores the intense emotions and confusion that come with romantic relationships, with Banks singing lines like “Did you see the way she looked me in the eyes / Just to say she loved me?” and “I’ve got this sentimental heart that beats / But I don’t really know what it means.”
Despite its complex themes, “PDA” is a highly danceable and infectious track that showcases Interpol’s ability to blend post-punk and new wave influences with a modern indie rock sensibility. The song’s catchy chorus, which repeats the refrain “We’ll take a walk tonight / And feel the warmth of the air / We’ll talk and touch and tease / Our lips will touch the sky,” has become a fan favorite and a staple of the band’s live shows.
3. “Untitled”
“Untitled” is the opening track on Interpol’s debut album “Turn on the Bright Lights” released in 2002. The song features a moody and atmospheric instrumental introduction before Paul Banks’ distinctive baritone vocals come in. The track has a melancholic and introspective quality, with Banks’ lyrics exploring themes of isolation and self-doubt.
The chorus, which repeats the line “I will surprise you sometime / I’ll come around when you’re down,” is both haunting and comforting, offering a glimmer of hope amidst the darkness. Musically, “Untitled” showcases Interpol’s ability to create a dense and brooding sound, with intricate guitar work and driving drums contributing to the overall sense of atmosphere and tension.
Despite its title, “Untitled” has become one of Interpol’s most recognizable and beloved songs, and it remains a fan favorite to this day. The track is often cited as a classic example of the band’s post-punk revival sound and their ability to craft emotionally resonant music.
4. “Specialist”
“Specialist” is a song by Interpol, featured on their debut album “Turn on the Bright Lights” released in 2002. The song is characterized by its propulsive drumbeat, jagged guitar riffs, and Paul Banks’ brooding vocals. The lyrics are cryptic and open to interpretation, with lines like “You’re a breathing wonder / You’re a specialist” hinting at a sense of awe and admiration.
Despite its complex themes, “Specialist” is an incredibly catchy and danceable track that showcases Interpol’s ability to blend post-punk and new wave influences with a modern indie rock sensibility. The song’s chorus, which repeats the refrain “Oh, I’ve got this sentimental heart that beats / But I don’t really know what it means,” has become a fan favorite and a staple of the band’s live shows.
Musically, “Specialist” features intricate guitar work and a driving bassline, with drummer Sam Fogarino’s propulsive rhythms anchoring the track. The song’s overall sound is moody and atmospheric, with an underlying tension that builds to a cathartic climax.
5. “The Heinrich Maneuver”
“The Heinrich Maneuver” is a song by Interpol, released as the lead single from their third album “Our Love to Admire” in 2007. The song features a driving bassline, catchy guitar riffs, and Paul Banks’ signature baritone vocals. Lyrically, the track explores themes of power dynamics and control, with lines like “Your hands on my fingers / Your thoughts in my head” suggesting a relationship that is fraught with tension and manipulation.
Despite its dark themes, “The Heinrich Maneuver” is an upbeat and energetic track that showcases Interpol’s ability to craft catchy indie rock anthems. The song’s chorus, which repeats the refrain “I don’t want your body / But I hate to think about you with somebody else,” has become a fan favorite and a staple of the band’s live shows.
Musically, “The Heinrich Maneuver” features intricate guitar work and a driving rhythm section, with drummer Sam Fogarino’s propulsive beats providing the backbone of the track. The song’s production is slick and polished, with a pop sensibility that helped to broaden Interpol’s appeal beyond their indie rock roots.
6. “Evil”
“Evil” is a song by Interpol, released as the second single from their album “Antics” in 2004. The song is characterized by its catchy guitar riff, driving rhythm section, and Paul Banks’ distinctive vocals. The lyrics explore themes of betrayal and deception, with lines like “Rosemary, Heaven restores you in life / Coming with me, through the aging, the fearing, the strife” suggesting a sense of treachery and manipulation.
Despite its dark themes, “Evil” is an incredibly catchy and upbeat track that showcases Interpol’s ability to blend post-punk and new wave influences with a modern indie rock sensibility. The song’s chorus, which repeats the refrain “But I’ve got this plan, oh, what’s the use? / I’m just a little bit caught in the middle,” has become a fan favorite and a staple of the band’s live shows.
Musically, “Evil” features intricate guitar work and a driving rhythm section, with drummer Sam Fogarino’s propulsive beats driving the track forward. The song’s overall sound is moody and atmospheric, with an underlying tension that builds to a cathartic climax. “Evil” remains one of Interpol’s most popular and beloved songs, and it is often cited as a classic example of their unique sound and style.
7. “Who Do You Think?”
“Who Do You Think?” is a song by Interpol, released as a bonus track on the deluxe edition of their self-titled fourth album in 2010. The song features a driving bassline, intricate guitar work, and Paul Banks’ signature baritone vocals. The lyrics explore themes of identity and self-discovery, with lines like “Who do you think you are, to me? / And who do I think you are to be?” hinting at a sense of uncertainty and confusion.
Despite its bonus track status, “Who Do You Think?” is a standout song that showcases Interpol’s ability to create brooding and atmospheric music that is both introspective and emotionally resonant. The song’s chorus, which repeats the refrain “Who do you think you are? / And who am I to be?” has a haunting quality that lingers long after the song has ended.
Musically, “Who Do You Think?” features intricate guitar work and a driving rhythm section, with drummer Sam Fogarino’s propulsive beats providing the backbone of the track. The song’s production is slick and polished, with a moody and atmospheric sound that is characteristic of Interpol’s unique style.
8. “Leif Erikson”
“Leif Erikson” is the closing track on Interpol’s debut album “Turn on the Bright Lights,” released in 2002. The song is a slow-burning, introspective ballad that showcases Paul Banks’ haunting vocals and the band’s ability to create atmospheric and emotionally resonant music. The lyrics explore themes of loneliness and isolation, with lines like “She says it helps with the lights out / Her rabid glow is like braille to the night” painting a vivid picture of a solitary figure lost in the darkness.
Despite its subdued and melancholic tone, “Leif Erikson” is a standout track that has become a fan favorite and a defining song in Interpol’s discography. The song’s soaring chorus, which repeats the refrain “How are things on the West Coast? / I hear you’re moving real fine” has a bittersweet quality that is both haunting and beautiful.
Musically, “Leif Erikson” features sparse instrumentation and a haunting guitar riff that builds to a cathartic climax. The song’s production is raw and unpolished, with a lo-fi quality that adds to its emotional intensity. “Leif Erikson” remains one of Interpol’s most beloved songs, and it is often cited as a classic example of their unique sound and style.
9. “Slow Hands”
“Slow Hands” is a song by Interpol, released as the lead single from their second album “Antics” in 2004. The song is characterized by its catchy guitar riff, driving rhythm section, and Paul Banks’ distinctive vocals. The lyrics explore themes of desire and temptation, with lines like “Can’t you see that it’s just raining? / Ain’t no need to go outside” suggesting a sense of hedonism and indulgence.
“Slow Hands” is a fan favorite and a defining song in Interpol’s discography, thanks in part to its infectious chorus and its ability to blend post-punk and new wave influences with a modern indie rock sensibility. The song’s driving bassline and propulsive drums create a sense of urgency and excitement, while the intricate guitar work and atmospheric production add to its overall moody and seductive vibe.
“Slow Hands” is a classic example of Interpol’s unique sound and style, and it has become a staple of their live shows. The song’s catchy chorus, which repeats the refrain “Can’t you hear me? / I’m calling out your name,” has a sing-along quality that has endeared it to fans around the world. “Slow Hands” remains one of Interpol’s most beloved and enduring songs, and it is often cited as a classic example of their ability to create music that is both catchy and emotionally resonant.
10. “A Time to Be So Small”
https://www.youtube.com/watch?v=WH2OImp5YtY
“A Time to Be So Small” is a song by Interpol, released as the final track on their second album “Antics” in 2004. The song is a slow-burning, introspective ballad that showcases Paul Banks’ emotive vocals and the band’s ability to create brooding and atmospheric music. The lyrics explore themes of vulnerability and self-doubt, with lines like “Why don’t you say it? / You don’t have to be so strong” hinting at a sense of fragility and uncertainty.
Despite its subdued and melancholic tone, “A Time to Be So Small” is a standout track that has become a fan favorite and a defining song in Interpol’s discography. The song’s haunting melody and evocative lyrics create a sense of intimacy and emotional resonance that is both beautiful and heartbreaking.
Musically, “A Time to Be So Small” features sparse instrumentation and a haunting piano riff that builds to a cathartic climax. The song’s production is raw and unpolished, with a lo-fi quality that adds to its emotional intensity. “A Time to Be So Small” remains one of Interpol’s most beloved and enduring songs, and it is often cited as a classic example of their ability to create music that is both deeply personal and universally relatable.
April Johnson is a frequent contributor to Singers Room. Since 2005, Singersroom has been the voice of R&B around the world. Connect with us via social media below.
