Interpol, those well-educated, well-coiffed icons of New York cool, were initially considered by many critics to be a parody of Joy Division. And while that idea was overblown from the beginning — Interpol’s debut, Turn on the Bright Lights, was more imbued with reverence for the Manchester legends than mimicry — the sensitivity was perhaps forgivable given that post-punk’s formative years were being aped in style and substance by almost every new band at the turn of the century. By the time Antics was released in September of 2004, however, it became clear that Interpol were cultivating a sound all their own, one arrestingly informed by space and texture and less reliant on the commonly abused, angular identifiers of their peers. Now, a decade-plus after their inception, the critical groupthink is that Interpol are a parody of, well, Interpol, which has some credence in light of the band’s most recent, self-titled effort. But as evidenced by the band’s recent set at Coachella (for which David Lynch developed the visuals), Interpol’s haunting atmospheric and design-minded approach to rock music is still as compelling today as it was in the beginning. Fortunately for us, they don’t care what critics think.