When you really think about the group’s music, there’s a lot about Interpol not to like. Be it the consistent post-punk cribbing or the monotonous delivery of its albums, all of which are cut from the same cloth, it’s easy to dismiss its members as hipsters of the highest order. (I have one friend who cringes at the first note that singer Paul Banks utters.) Interpol can be labeled as “the” quintessential New York indie band, the one that exploded on the scene with its debut, Turn on the Bright Lights, in 2002 to immediate acclaim and a built-in audience. But times change and sustainability is not a capital that most “it” bands are able to trade in fruitfully. Despite all of the odds against it, Interpol managed an almost-hat-trick with its first three albums; Turn on the Bright Lights,, Antics, and Our Love to Admire, respectively. The ensemble’s fourth LP, the self-titled Interpol was deemed a mediocre affair, at least critically, that culminated with founding bassist Carlos Dengler leaving the band and casting its immediate future in a wavering light.