“I don’t know if there will ever be another Interpol album” says Paul Banks matter of factly, after the release of their fourth record. For a brief second, my heart skips. After all, we are talking about my favorite band in the whole wide world. The kings of the dark and gloomy, who delivered numerous songs that made your blood boil with passion and your breath go heavy with tension, who -with those killer bass riffs, those skin deep lyrics and that thick, powerful lead, dragged you into depression.

“So what’s next?” I ask in anticipation. “Julian Plenti” he says with a spark in his eyes. Well, that’s a surprise. For some reason, I had reduced his solo career to a one-time indulgence in my mind, which I thought wouldn’t advance any further. Although there were a couple of gems in his first effort, Julian Plenti is Skyscraper, I didn’t know what to expect from this hip-hop loving, unpredictable singer.

He didn’t disappoint when instead of using his alter-ego Julian Plenti, Banks chose to use his own name for his new EP. Yet, he didn’t kill off his former self completely by going for the album title, “Julian Plenti Lives.” The single “Summertime is Coming” was good enough for an in-betweener but couldn’t be counted as anything special.

However, “The Base” told a different story. Banks, who unwisely titled the new album as “Banks”, (as fatal an artistic error as Beyonce’s “B-Day”), managed to deliver a tense and unnerving song of majestic beauty. It made a handsome promise for the upcoming LP.

Honestly, I don’t know what’s in the works for Interpol. Their self-titled fourth, was their worst, and I don’t think they can ever be the same without the inexplicably cool Mr D, especially with an apparent lack of band chemistry. Yet, I will make do with whatever Mr Banks offers and I am more than happy with “The Base” and the promise it makes.