Julian Plenti
Julian Plenti Is... Skyscraper

Very often, when an important member of a band announces «I want to record a solo album», rumors start to circulate about internal tensions within the band, breakups, split-ups, a probable commercial turn of the solo project in question, and so on and so forth. In 2009, Paul Banks, the singer of Interpol with a "curtiano" timbre - whose band is not facing a split-up but is instead working on new material, indeed announces that he wants to record an album with his own songs, some fresh and others dating back even 10 years. So, in August, this "Julian Plenti Is... Skyscraper" sees the light. Banks' solo production is released under the pseudonym Julian Plenti - a blend of his middle name (Julian) and an invented surname (Plenti) - a pseudonym he apparently used even before the formation of Interpol.

And so, is it a commercial stunt or merely a photocopy of his mother band? No. Here Paul Banks/Julian Plenti brings to life something that for the most part diverges from the typical sound of Interpol, that indie rock/new wave revival which set such a standard with the magnificent "Turn On The Bright Lights" of 2002. The base is there, of course, but add to this a pinch of background electronics, a certain folk flavor in a couple of tracks, a lighter mood, and the desire to sprinkle something different here and there.

The opener "Only If You Run" is an airy, ‘light’ and pleasant track. The first thing you notice is that the album is largely much less guitar-oriented than Interpol’s. The following "Fun That We Have" has a more upbeat rhythm and more closely resembles Banks' mother band. In the third track - "Skyscraper" - an acoustic guitar and a couple of cellos peek through (along with a very subtle background effect layer), revealing that slightly folk vein I mentioned earlier. For most of its duration, the track is instrumental; Plenti makes his entrance with his baritone voice only in the second half, melancholically intoning a single phrase.

Then comes one of the best tracks on the album (and the one that most brings Interpol to mind), "Games For Days", a much more 'guitar-heavy' track with an enveloping chorus and a coda that magnificently closes the song. "Madrid Song" is short yet intense: 2 minutes of piano, voice, a distant violin - almost hidden, weaving itself into the main fabric of the composition - and a filtered female voice, giving the whole a retro touch. "Madrid Song" thus emerges as one of the most unique and experimental tracks on the album. "No Chance Survival" is a delicate track that also sees the introduction of a double bass and occasional xylophone touches. "Unwind" picks up the pace and introduces some trumpets, while in some parts Plenti's voice is filtered. A song, this one, less enjoyable than the others.

"Girl On The Sporting News" has an almost blues touch, with Banks/Plenti's voice becoming truly enveloping. "On The Esplanade" is the second track with a folk character. Voice, acoustic guitar, and a cello. Delicate and well-executed. "Fly As You Might" has "slow" rhythms, dictated primarily by the guitar, and also sees intertwined background reverbs. The closure of this truly pleasant album, however, is assigned to a track that, in my opinion, was poorly executed: "H" consists of piano and ambient effects, to which are added a "chanting" voice (not that of Banks) and acoustic guitar. An experiment that I personally did not like.

So, how to consider Julian Plenti’s first solo effort? For me, it is a very good effort, containing several experiments (some truly well-realized), despite some tracks where the specter of the NY band is more pronounced (which I think is almost inevitable). In conclusion, for me, Plenti fully passes the test and earns a solid 4/5. While waiting for new work from Interpol, see you next time, Julian...