Close On the surface, the story of Interpol's 2002 full-length debut Turn on the Bright Lights is almost annoyingly of its place and time: four guys meet in New York, start a band, make tightly-wound indie rock jams that sound great at your favorite mid-gentrification Williamsburg bar, sign to a renowned independent label, and the rest is history. But the early-aughts New York of Turn on the Bright Lights is not the young, vibrant, and impossibly cool place of cultural myth. It is a darker and more complicated place, fraught with disappointment and disconnection.
It is a crushingly real place, rendered in such vivid emotional detail that it rings true even to those who have never set foot in the city. This stellar 10th Anniversary reissue documents the process by which a handful of pretty-good songs became a truly great album, making it painfully and unequivocally clear that Turn on the Bright Lights is the sum of its players, not its influences. In retrospect, 2002 may have been the very year that we stopped talking about how music sounds, and started talking about what other music it sounds like. 'Interpol sounds like Joy Division' was one of the first critical observations to turn into a full-fledged meme. In the intervening years, other bands have sounded a whole lot more like Joy Division, and the comparison now feels like just that: a comparison. While Joy Division could channel enormous amounts of energy through Ian Curtis's intense delivery, Interpol pulled off a real magic trick by constructing a framework complex and dynamic enough to bring singer Paul Banks' inscrutable deadpan to life.
Banks's words can be downright laughable on paper, and are often sung as if WRITTEN OUT IN ALL CAPS WITH NO PUNCTUATION. But from this insistent, exaggerated blankness, the band coaxed a genuinely unnerving sense of alienation and melancholy. Snk vs capcom ultimate mugen 3rd battle edition descargar musica. These songs are packed with a staggering amount of rhythmic and melodic tension, sometimes amplifying minuscule expressive nuances in Banks's voice, and sometimes drawing attention to their disconcerting absence. Each individual member of the band has his own role in piecing this puzzle together. Drummer Sam Fogarino is the perfect anchor for Carlos Dengler's busy, melodic bass lines, keeping the rhythm section forceful and grounded. Guitarist Daniel Kessler is the album's unsung hero, expanding the band's dynamic range by oscillating between wide, monolithic chords and narrow, winding leads.
The album's second single 'NYC' achieves two unlikely successes pioneered by Matador labelmates Chavez: structuring a ballad around loud, steady drums and withholding all bass guitar until the chorus. 'The New' slips a disco bass line under a morass of swirling, detuned guitars. There are a lot of things about Turn on the Bright Lights that should not work, and would not work were they not so carefully thought through and artfully implemented. Three batches of demo recordings are far and away the most interesting bonus materials on this extensive reissue, as they show just how close the album came to not working. The first three-song demo, recorded in 1998 and featuring album cuts 'PDA' and 'Roland', comes off as an unremarkable practice tape by a band with lots of good ideas but insufficient energy and chemistry to pull them all together.
The second three-song demo, recorded at Brooklyn's Rare Book Room in 1999, is more worked over with decidedly mixed results; there are some jarringly tacky too-loud keyboards here, and a sing-spoken interlude that can't help but bring to mind Crazy Town's 'Butterfly'. Somewhat ironically, it is only the third and final four-song demo, recorded at the band's practice space, where Interpol stops sounding like four guys in a practice space tentatively running through busy rock songs.
Much of this can be credited to Fogarino, who joined the band between their second and third tapes and brought with him a rhythmic confidence and swagger that provided the crucial missing piece of Interpol's singular sound. This progression of demo recordings documents not only the evolution of the band's playing, but also their increasing attention to texture and ambiance. As the group grew more confident, the gritty sonics of their demos became less incidental to the songs they were making, and more a part of the songs themselves. Producer Peter Katis did an amazing job of preserving and amplifying this rawness, and the band themselves crucially revisited many elements of their demos to better suit their evolving capabilities. The slight changes that Fogarino made to the kick pattern at the beginning of 'PDA' completely make the song's signature introduction, taking it from 'oh, there's a drumbeat' to 'OH, there's THAT drumbeat.' Banks gave his lyrics a thorough tune-up before the recording the album, excising his most rhythmically formless lines and shoring up the critical interplay between his voice and the rest of the band.
The extensive liner notes here are as much about the city in which Interpol operated as the band itself. It's certainly interesting, especially for those who are up on their New York City indie rock landmarks.
And while the photographs included here do a good job of documenting the physical locations where this album was born, the album itself conveys the setting in a deeper way. Suggesting that this album is simply a product of its time and place is no less naive than suggesting that anyone who has ever been in love could easily write, arrange and record an amazing love song.
There were a lot of good bands in New York in 2002, but only one band made this record. Review by Matt LeMay, Pitchfork.com Tracklist: CD1 - The Album: 01. Untitled (3:57) 02. Obstacle 1 (4:12) 03. NYC (4:19) 04.
PDA (5:00) 05. Say Hello to the Angels (4:28) 06. Hands Away (3:06) 07. Obstacle 2 (3:47) 08.
Stella was a diver and she was always down (6:28) 09. Roland (3:36) 10.
The New (6:07) 11. Leif Erikson (4:00) CD2 - B-Sides, Demos, Live 1998-2001: 01. Interlude (B-Side) (1:01) 02. Specialist (B-Side) (6:40) 03. PDA (First Demo) (4:44) 04. Roland (First Demo) (3:44) 05.
Get The GirlsSong 5 (First Demo) (3:47) 06. Precipitate (Second Demo) (5:33) 07. Song Seven (Second Demo) (4:43) 08. A Time To Be So Small (Second Demo) (5:47) 09. Untitled (Third Demo) (4:13) 10. Stella (Third Demo) (6:40) 11. NYC (Third Demo) (4:27) 12.
Free dubbed movies in hindi. Leif Erikson (Third Demo) (4:27) 13. GavilanCubed (Third Demo) (6:49) 14.
Obstacle 2 (Peel Session) (3:54) 15. Hands Away (Peel Session) (3:10) 16. The New (Peel Session) (5:59) 17. NYC (Peel Session) (4:17).
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Next month, will release a 10th anniversary edition of Interpol’s Turn on the Bright Lights. The special, deluxe edition will feature a package of remastered and bonus LPs, CDs, DVDs, and a handbound book. Turn on the Bright Lights was the studio debut for Interpol. The album received so much critical praise and success, that it was hailed as one of the best records of the decade.
Matador has made a special demo version of Roland, one of the album’s standout tracks. This album has been sitting comfortably in my mental list of Top 5 favorite albums since it’s release when I was 14. It’s timeless, and if you haven’t experienced the greatest of Interpol, now is your golden opportunity. The Anniversary Edition will be available 12/4.
. ' Released: November 11, 2002. ' / ' Released: April 14, 2003 Turn On the Bright Lights is the debut by American band, released on August 20, 2002. The album was recorded in November 2001 at Tarquin Studios in Connecticut, and was co-, and by and Gareth Jones. It was released on August 19, 2002 in the United Kingdom and August 20 in the United States, through. Upon release, the record peaked at number 101 on the. It reached number 158 on the in the United States, as well as spending 73 weeks on the chart, peaking at number five.
', ' and ' werere released as singles from Turn On the Bright Lights, and music videos were shot for all but 'Say Hello to the Angels', the album track 'PDA' also had a music video. A remastered version of the album was released in 2012 to commemorate its tenth anniversary.
It featured additional material including demo recordings of several tracks, the bonus songs previously available on international releases and a DVD of live performances and music videos. Interpol are to embark on a tour in 2017 celebrating the album's 15th anniversary, playing the album front to back. Contents. Promotion and release The release of Turn On the Bright Lights was preceded by the marketing of the band's self-titled EP in June 2002, their first release for Matador.
The EP contained three tracks: 'PDA', future single ', and 'Specialist'. All three tracks later appeared on the album, with 'Specialist' included as a bonus track in Australian and Japanese editions. Further promotion continued at the beginning of the following year, when the band played the 2003 alongside, and. Critical reception Professional ratings Aggregate scores Source Rating 81/100 Review scores Source Rating A− 8/10 9.5/10 C+ Turn On the Bright Lights was released to critical acclaim from music critics. The album holds a score of 81 out of 100 from the aggregate site based on 21 reviews, indicating 'universal acclaim'. Contemporary reviews of the album often noted Interpol's influences and drew comparisons to several other acts.
Michael Chamy of cited 'melodic -like basslines; the divine textures of and; a peppy, -like bounce; and a singer who's a dead ringer for.' 'It's almost as if Ian Curtis never hanged himself,' began 's review, with critic Jonah Weiner adding that Paul Banks' vocals channeled Curtis' 'gloomy moan.' 's Victoria Segal called comparisons 'obvious and unmistakable, airbourne in the ashen atmospherics,' while praising Interpol's take on the 'grey-skinned British past'.
Wrote that Interpol had created an 'homage to their particular vision of the '80s that stands proudly alongside the best of its idols.' Scott Seward, writing in, remarked: 'If I like them because they remind me of eating bad bathtub mescaline in the woods and listening to singles, well, that'll do. You might like them for completely different reasons.' Noel Murray of opined that Interpol's virtue 'lies in the way its music unfurls from pinched openings to wide-open codas', while of wrote that their 'sleek, melancholy sound is a thing of glacial beauty'. Eric Carr of argued that the band had forged their own distinct sound, 'a grander, more theatrical atmosphere with lush production that counters their frustrated bombast', praising Turn On the Bright Lights as 'one of the most strikingly passionate records I've heard this year.' However, The Village Voice 's, naming it 'Dud of the Month' in his Consumer Guide column, felt that Interpol 'exemplify and counsel disengagement, self-seeking, a luxurious cynicism,' downplaying Joy Division comparisons as 'too kind'.
's lukewarm assessment of the album described it as 'predictably claustrophobic listening'. At the end of the year, Turn On the Bright Lights featured on several publications' lists of the best albums of 2002, including those of Pitchfork, who named it the year's best album, NME, who ranked it at number ten, and, who ranked it at number five.
The album placed at number 15 on The Village Voice 's year-end critics' poll. Legacy Hailed as a seminal album of the 2000s, Turn On the Bright Lights has been cited as an influence on many indie rock bands, including, and others to the extent that many of these bands have been disparagingly referred to as 'Interpol clones'.
Closely associated with -era, the album has been seen as helping define 2000s indie rock, and Interpol have been cited as helping usher in the New York-born scene, along with contemporaries such as, and. Summing up the album's impact in a review of its 2012 re-issue, Matt LeMay of Pitchfork wrote: 'Suggesting that this album is simply a product of its time and place is no less naive than suggesting that anyone who has ever been in love could easily write, arrange and record an amazing love song.
There were a lot of good bands in New York in 2002, but only one band made this record.' In 2017, the band embarked on a worldwide tour to celebrate its 15th anniversary. At the end of the decade, the album has been featured on numerous lists. This is a and may never be able to satisfy particular standards for completeness. You can help by with entries.
Publication Accolade Rank Pitchfork 'Top 100 albums 2000-2004' #3 Pitchfork 'Top 200 albums of the 2000s' #20 'Top 50 Albums 2000-2005' #6 Stylus 'Top 100 Albums of the 2000s' #20 NME '100 Greatest Albums of the Decade' #8 NME '500 Greatest Albums of All Time' #130 '100 Best Albums of the Decade' #59 'Top 200 Albums of the Decade' #3 'Top 100 Albums of the Decade' #7 '100 Best Albums of the Decade' #9 '2000-2009: Albums of the Decade' #13 'Top 20 Albums of the Decade' #10 'Top 100 Albums of the Decade' #35 '21 Best Albums of the 2000s' #12 Track listing All tracks written by Interpol. Title Length 1. 'Untitled' 3:56 2. 'PDA' 4:59 5. 'Hands Away' 3:05 7. 'Obstacle 2' 3:47 8.
'Stella was a diver and she was always down ' 6:28 9. 'Roland' 3:35 10. 'The New' 6:07 11. 'Leif Erikson' 4:00 Total length: 49:02 Tenth Anniversary Edition bonus disc No. Title Length 1. 'Interlude' 1:01 2. 'Specialist' 6:40 3.
Interpol Turn On The Bright Lights
'PDA' (First Demo) 4:44 4. 'Roland' (First Demo) 3:44 5. 'Get the Girls/Song 5' (First Demo) 3:47 6. 'Precipitate' (Second Demo) 5:33 7. 'Song Seven' (Second Demo) 4:43 8. 'A Time to Be So Small' (Second Demo) 5:47 9.
'Untitled' (Third Demo) 4:13 10. 'Stella Was a Diver and She Was Always Down' (Third Demo) 6:40 11. 'NYC' (Third Demo) 4:27 12. 'Leif Erikson' (Third Demo) 4:27 13. 'Gavilan/Cubed' (Third Demo) (alternatively known as 'Mascara') 6:49 14. 'Obstacle 2' (Peel Session) 3:54 15.
'Hands Away' (Peel Session) 3:10 16. 'The New' (Peel Session) 5:59 17.
Interpol Turn On The Bright Lights Full Album
'NYC' (Peel Session) 4:17 Bonus tracks on Australian edition. 'Specialist' – 6:39 Bonus tracks on Japanese edition Two different versions exist.
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