Julian Plenti

Julian Plenti Is...Skyscraper

(Matador)

Record Review by Marcel Feldmar

Honestly, sometimes I think I just don’t pay enough attention to certain things. I listened to Interpol, dug the first album, made it through the second, and then, well, we sort of lost touch. I was intrigued and happy when I heard about the Swervedriver / Interpol cross over, and then that was kind of that.

Then I requested this Julian Plenti thing, and that was mainly because I was wondering what Matador was up to. I’ve been losing touch with all my old friends I think in the back of my mind, there was a little voice whispering “Interpol” but I didn’t really listen (or understand) what that meant in regards to this...

Now, well, I know. Julian Plenti is Paul Banks. He of the Interpolistic vocal chords. This is Interpol, but actually just more Inter-Paul.

Get it?

So, at this point, there is very little you can do or say to separate these two sides of the same coin. Julian Plenti is, thankfully, much closer in vibe, attitude, and spirit, to the Turn On The Bright Lights sound. There are a few missteps, I think, but working outside of his familiar band situation, I think Julian, or Paul, or whatever, has managed to put together a strong solo debut. He does have a little help, though. It’s not just a man and his machine here. While there are some electronic hits and hints, and synth touched flows, there is still a very organic and natural feel to the songs, and their placement within the CD. Mike Stroud from Ratatat joins in, as does Charles Burst, from The Occasion, and the unmistakable sound of Sam Fogarino’s drums flies through the songs at times as well.

This is impossible to listen to without hearing Interpol. It’s hard to write about without it coming in to the picture. Some of the songs fall definitely on the side of solo artist, while others could be well fleshed out sketches of pictures to come when surrounded by the full and familiar band. The first song on the album, “Only If You Run” is a dark and grooved melodic number, holding on to that balance of old and new (Chameleons / Editors), and perhaps this is the song that showcases the best of what Julian Plenti can do.

The songwriting and structure is more cohesive, more solid, and doesn’t need to compete with other voices in the mix. This is a singular vision coming out to get you, and listening to this you become more familiar with where, exactly, it’s coming from. The second song moves into a little more upbeat noise, but it’s still driving on the same street. These songs stand just fine on their own, and you could throw them into an Interpol set list and the band wouldn’t miss a beat. Then “Skyscraper” hits, with a more sparse and melodic drift, and until the vocals hit, it could be something new from the Black Heart Procession. These are the songs that seem to be more personal. Songs like this, and a few more (“No Chance Survival” with it’s lilting piano, “Girl On The Sporting News”, and “On The Esplanade” which has a slow folk touched guitar picking that calls out a little Cat Stevens, if Cat Stevens was more into Joy Division), seem to showcase the more introspective and quiet side of the singer/songwriter that is sometimes overshadowed by the push and vision of the band he’s normally associated with.

Fortunately, the CD does not end up sounding at all schizophrenic. Sometimes a little sad and paranoid, but it all fits together nicely. There are a few moments of a more experimental nature, a little more drum machine, a little more noise and rough edges, but those moments are short and add to the album as a whole. Perhaps this is just a little side-project and won’t be taking the place of the regular band day-job, but if the next Interpol album moves closer to this and further from whatever happened with Our Love To Admire, I’ll be one happy listener.