Interpol
Turn On The Bright Lights (2002)

review by: Dustin Pangonis
Date: 1/23/03

With all the attention given to the garage rock scene lately from both critics and the public, a few great new acts are bound to be lost in the shuffle. Interpol's "Turn On The Bright Lights" is one of these albums.

Although critically lauded (appearing in best of 2002 lists in Spin and Rolling Stone), the mainstream radar has been slower to pick on Interpol. Truth be told, their influences aren't as radio-friendly as some of their peers. Instead of aping Nirvana like the Vines, or delivering over-the-top Swedish punk by way of the Hives, Interpol sounds more like early 80s post-punk bands like the Joy Division, with a dash of the Strokes justifying their placement with the other New York bands.

Moodwise, Interpol are also a lot darker than most of the bands they're associated with. Lead singer Paul Banks spouts unrelentingly dismal, lovelorn lyrics over bouncy basslines and the guitar's droning downstrokes. Jarring lyrics like "But it's different now than I'm poor and aging/I'll never see this face again/You go stabbing yourself in the neck" in "Obstacle 1" demand the listener's full attention and show that these guys get a little more depressing than the typical NYC band.

Most of Interpol's faults seem more damaging in print than they do when listening to the record. Like many garage band contemporaries, you may argue that the band isn't really bringing anything new to the table. But just like the Strokes or the White Stripes, Interpol churns out their influences in a fresh way, and shows every sign that their next albums will continue to expand upon their sound and define the band.

The somber mood of "Turn On The Bright Lights" is both it's greatest strength and biggest weakness. While the mood is convincingly sustained throughout the album and makes it a compelling listen, occasionally the band comes across as a little pretentious. Song titles like "Stella Was A Diver And She Was Always Down" and lyrics like "the subway is a porno" [in "NYC"] provide slightly cringe-worthy moments, but ultimately they don't add up to much.

However, when everything falls into place, which is for most of the record, the results are stunning. Highlights such as the lead single "PDA" carry the album's momentum through until the very end. "NYC" and "Obstacle 2" feature intertwining vocal melodies, and "Say Hello To The Angels" comes somewhat close to upbeat with it's chugging guitars and buoyant rhythm. And Interpol provides some excellent hooks through the moodiness, such as "PDA"'s chorus of "Sleep tight/Dream right/We have two hundred couches where you can/Sleep tight..."

Whether or not Interpol sees a bigger breakthrough into the mainstream with all their praise remains to be seen. "Turn On The Bright Lights" may prove a little too dark for record-buyers. Then again, the band's distinctive atmosphere and Banks' powerful vocals could just as easily entice fans. Either way, it's one of the more intriguing albums to come out in the past year and is worth a look for those wanting to delve a little deeper into rock's new offerings.