Interpol
Turn on the Bright Lights
2002
Why is it that when bands get swept up into the hype machine, their credibility often immediately declines and they are frequently written off as the latest flash in the pan? Interpol received massive critical acclaim with the release of Turn On the Bright Lights at the height of a post-punk / dance-punk revival in the early to mid 2000’s of indie rock. Not unlike The Strokes, Interpol had some heralding the second coming and incorrectly comparing them to the late great Joy Division.
Whereas for Joy Division, simple threadbare music was a fact of life, for Interpol it is a stylistic choice. And they have wonderful command of their image and sound. They dress perfectly, sporting matching dark suits and formal lines that fit the aesthetic of their music, which harkens back to the gloomy post-punk days of the early 1980’s. Their album artwork is trichromatic, stark, and minimal evoking the unnatural and synthetic conurbation of New York.
What Interpol creates in Turn on the Bright Lights may have been considered too posh if released 20 years ago. This is largely because of the technological advances utilized in creating beautifully despondent atmosphere. Yes, there is a heady melancholy with emotional swells, but these powerful songs also have a light, shoegaze-like sheen to them, often making the songs soar to unbelievable exhilarating heights. This shroud coats the album and never fully exposes Paul Bank’s baritone. He is always hidden amongst the reverb-laden guitars and urban haze of the record. While Interpol hasn’t lived up to this album with their two subsequent releases, I will still always have this one to treasure. -R.C.
The album starts out incredibly strong. “NYC,” the third track, is an absolutely perfect song that always stays with me for several hours after I hear it. However, the record begins to feel extremely monotonous towards its latter half. Each song from about Track 7 on sounds similar when it begins, and it’s only a slight variance of melody that gives it noticeable distinction. I find that I often forget many of these songs as a result. - Phil
Alright readers, based on their entire discorgraphy, which New York band do you think is stronger - Interpol or The Strokes?
ReplyDeleteNo contest - Interpol over the Strokes for me.
ReplyDeletePhil, I didn't expect you to dislike this one. I mean, sure Interpol (like Low) have a pretty strict aesthetic, but I always felt the execution was controlled and cohesive, not monotonous.
I do like it, Steve. I own it and do occasionally listen to it. I just prefer the first half over the second because I think some of the later songs have similar sounds that I would prefer to be varied a little more.
ReplyDeletethis album pretty much changed music for me. i think "untitled" is one of the strongest album openers of our generation personally. infact, i am now listening to that song thanks to this review.
ReplyDeletei totally agree to the shoegaze-esque feel to the album, and i think that is why i am so in love with it.
can't really compare the strokes with interpol. between this and "is this it?" i'd probably say this is the better cd. however, seeing the premiere of "last nite" on mtv2 was one of the most exciting moments of my young pop music life.
ReplyDeleteInterpol. No contest. Sorry Phil!
ReplyDelete