Interpol, “The Other Side of Make-Believe.”

The creation of Manhattan indie rockers Interpol’s seventh album, The Other Side of Make-Believe, began the same way as so many pandemic-era records, with the band’s three members spread out across the globe and contributing their writing and recording individually. For a band known for typically recording with a “live” immediacy, this was quite the departure. Later, they reunited at a rented home in the Catskills to continue the process, before finally finishing the record in North London. The ends result, however, made for a surprisingly cohesive and compelling record that pushes deep into the band’s dark and moody tendencies.

Vocalist and guitarist Paul Banks focused his writing efforts in Edinburgh for nearly nine months during the remote portion of the album’s creation. Opening with a haunting but bright piano melody, a rich bass line and a pulsing beat of the bass drum, the band enters one by one on opening track “Toni.” It builds its concentrated energy, never quite reaching a full crescendo, rather a straightforward riff-driven rock.

“I’d like to see them win/ I like the inspiration/ It’s going in the right direction/ And that’s to me,” Banks sings.

The beat drives mid-tempo rocker “Fables,” before the song opens up to a darkly melodic swaying chorus. Its bridge features opposing, competing vocals that come together to transition into the the final chorus. The guitar work also stands out, with a layered wall of sound aesthetic that feels raw and understated. The record’s top-notch production was a mix of work by first-time collaborator Flood and a reunion with coproducer Alan Moulder.

“Into the Night” brings a drab nuance with a complex underlying drum groove that carries the song forward over Banks’ forlorn vocal melodies. The two combine for an unusual clash that makes the track interesting and unexpected. “Mr. Credit” hits a more conventional indie stride, with a mix of lyrical intensity, riff-heavy fuzz tone guitar and whispered vocals before exploding into the heavy rhythmic chorus. The track hits hard and is one of the immediately effective songs on the record.

“I’ll be the hand to pull you up higher/ I wanna be there when you cut the wire/ I wanna be there when you touch,” Banks sings on the upbeat number.

The atmospheric and stark “Something Changed” takes on a much different tone with a solemn, monotone delivery by Banks. Despite the darker take, the bass and percussion mix in some added flourishes that bring the song to life. The pace quickens on “Renegade Hearts,” a rhythmic rocker that almost verges on danceable. Banks’ cool and calm singing fits in nicely with Daniel Kessler’s active guitar playing and drummer Sam Fogarino’s adept work behind the kit.

Things turn a bit more experimental on noisy ballad “Passenger,” a mid-tempo rocker filled with fuzzy layered guitar, driving drums and a smooth bass line. The isolation influenced many of the tracks, with the intimacy of the individual instruments being given the space to cut through the mix. The combo of “Greenwich” and “Gran Hotel” keep the no-nonsense rock and roll coming, though even the most energetic tracks stop just short of unleashing their full energy. The Other Side of Make-Believe is defined by intricacy and goes in a very different direction from the rawer sound of the band’s previous effort Marauder.

“Big Shot City” brings another very different vibe, mixing in layered vocals and quiet guitar parts to create a more expansive whole. It’s a must-listen on headphones to get the full sense of just how much is going on. The soaring melodies of “Go Easy (Palermo)” takes the record home on a quieter and more somber note.

Follow writer Mike DeWald at Twitter.com/mike_dewald.