INTERPOL’S majestically gloomy Turn On The Bright Lights has almost reached its teenage years.

Arriving in 2002, between the Strokes’ and Yeah Yeah Yeahs’ debuts, its hymns to hurt formed part of a trilogy of guitar records as great as any spawned by New York since the febrile CBGB heyday of Television, Blondie, Patti Smith et al.

After three previous attempts, Interpol now present El Pintor perhaps not as a record to better TOTBL, but as an accompanying set. Bassist and style totem Carlos D has departed, and frontman Paul Banks seamlessly takes on four-string service.

This could be Interpol’s second blackout record – those bright lights are out again, but this time the band comb new terrain for a flicker, urgency confirmed by Daniel Kessler’s wiry guitar dancing across the nimble Anywhere, twitching through Same Town New Story, and waltzing through My Blue Supreme.

Everything Is Wrong, meanwhile, is inclined to soar skyward but is weighed down by despair.