Interpol Poised to Carry on Without Bassist

When Interpol announced the resignation of Carlos Dengler, the monochromatic foursome's most colorful member, it came as good news to no one. Fans of the band wondered what the bassist's departure would mean for its sound, while haters lamented the loss of their favorite punching bag, the man whose slick, urban-gunslinger stage outfits -- complete with shoulder holsters -- seemed to justify their style-over-substance criticisms.

While Dengler's playing helped define Interpol's music, drummer Sam Fogarino tells Spinner the group is in no danger of a creative collapse.

"As to whether [his talent] will be missed, yeah, how can it not be?" Fogarino says. "The band will just rely on other strengths in the future. We're far from even thinking about new music. Emotionally, it will be missed but pragmatically, no. We're all pretty capable musicians."

Known primarily as a bassist, Dengler had, in recent years, gravitated more toward arranging and orchestrating Interpol's music. He was behind many of the keyboard sounds heard on 2007's 'Our Love to Admire,' the quartet's third album and first for a major label, and he played an integral role crafting the group's forthcoming self-titled fourth album, due out in September.

"He started leaning toward that application, kind of composing harmonies on keyboards early on, and he started to, I think, feel more redeemed as a musician doing that," Fogarino says. "The bass became more a duty, a function, than a passion. He's always claimed to never have been a bass player, which is strange to me because he's one of the best bass layers I've ever played with."

When Interpol returns from the road and begins writing its next album, Fogarino says he, singer Paul Banks and guitarist Daniel Kessler will take over the duties that had fallen to Dengler.

"He kind of guarded that territory fiercely," Fogarino says. "He felt like that was his baby, which was fine, because he's a really good arranger and really good with harmony. But it's kind of a stupid question [for us to ask]: Who's better? Who's better is kind of crazy. It's just a different take. Any four of us can get behind a keyboard and -- not to dismiss his talent -- come up with an interesting harmony or melody. I don't think we're afraid to work on music without him. But it's just so far away. Who knows how we'll feel in a year and a half or two years."