| | Interpol Turn On The Bright Lights CD - Import Interpol Discography of CDs
To make music marked distinctly of a specific period that's somehow so compelling as to be timeless is no mean feat. Interpol initially sounds as if they must have been roaming about Manchester as the 1970s screamed to a close, yet they emerged across the ocean in New York City some two decades-plus later. Combining the insistent drone of Joy Division with the dreamy melodies of the Chameleons, the fire of Mission of Burma, and an occasional jagged edge a la The Fall, the foursome inconceivably manage to defy anachronism on their debut full-length TURN ON THE BRIGHT LIGHTS. Just how they do it is indefinable, perhaps it's just a trick of the light, or the life that breathes gloomily, radiantly throughout, but it's undeniable.
Vocals which fall somewhere between Ian Curtis's plaintive, edge-of-oblivion wail and the winking, laconic drawl of James's Tim Booth, ripping uncompromisingly through unpredictable, unforgettable lamentations from the reflective ("NYC") to the imploring ("PDA"). When the darkly etched, implosive, mournful lyrics poke out as they do on the unrelenting "Obstacle 1" ("she puts the weights into my little heart and she gets in my room and she tears it apart"), the hook is set for an important debut by a band that portends to be around a while.
Japanese reissue of their 2002 debut album featuring 16 tracks including five bonus tracks that are unavailable on the US pressing, 'Hands Away' (Peel Session), 'Obstacle 2' (Peel Session), plus three enhanced videos of 'PDA', 'NYC', & 'Obstacle 1'. Toshiba/EMI. 2003.
Japanese import edition featuring a bonus track.
Interpol: Carlos D., Daniel Kessler, Paul Banks, Samuel Fogarino.
Rolling Stone (12/26/02, p.106) - Included in Rolling Stone's "50 Best Albums of 2002"
Rolling Stone (12/26/02, p.104) - Ranked #7 in Rolling Stone's list of 2002's "10 Best Debuts"
Rolling Stone (9/5/02, p.72) - 3 stars out of 5 - "...Their melancholy sound is a thing of glacial beauty....immpeccably tailored..."
Spin (1/03, p.72) - Ranked #32 on Spin's list of 2002's "Albums of the Year" - "...Echoes of Bunnymen, a smidgen of Smiths, lots of Joy Division..."
Entertainment Weekly (8/23/02, p.142) - "...One of the most exciting new sounds of the year..." - Rating: A-
Q (9/02, p.107) - 3 stars out of 5 - "...[Their] brooding melodies make for predictably claustrophobic listening....and they have the tunes to match all the mannered gloom."
Uncut (1/03, p.95) - Ranked #26 in Uncut's "100 Best Albums of the Year"
Uncut (9/02, p.111) - 3.5 stars out of 5 - "...Exhilaration amid the despondency...powerful songs and a light, shoegazey sheen means they frequently soar...A compelling inaugural shot."
Mojo (Publisher) (1/03, p.77) - Ranked #34 in Mojo's "Best Albums of 2002"
Mojo (Publisher) (10/02, p.110) - "...Reverberant and ominous...flashes of steely-grey beauty..."
NME (Magazine) (8/17/02, p.34) - 8 out of 10 - "...Forget the New York state of mind: Interpol have crossed county lines into new, distinctly Mancunian territory..." Turn On The Bright Lights Music Turn On The Bright Lights Music Turn On The Bright Lights Review
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Spencer Albee, the singer/songwriter behind As Fast As, has been kicking around for about a decade now, first as a member of Rustic Overtones and then as the leader of Rocktopus, which adopted the name As Fast As a little while after their 2003 Something Fierce (a title which would, ironically enough, seem more appropriate in 2006, after Tyra Banks' grand mission to apply "fierce" to everything from walking to confronting a fear of dolphins). As Fast As isn't as wonderfully silly a name as Rocktopus; in fact, it veers just a little bit too close to generic, which is too bad, because their AFA debut Open Letter to the Damned isn't generic at all. It's a glorious rush of power pop sounds from Elvis Costello to Weezer, with a few throwbacks to such '60s touchstones as the Beatles or the Kinks. It's possible to hear all those bands and more on Open Letter to the Damned, since As Fast As draws deeply from the pop tradition and aren't ashamed of it. But listening to this album doesn't become a game of spot the influence -- sure, it's easy to hear melodies inspired by Squeeze, harmonies lifted from old Nick Lowe albums, or vocal phrasing that has Ben Folds as a forefather, but Albee is a sharp songwriter, fusing together his influences instead of merely regurgitating them. He winds up with 11 bright, bold, ceaselessly catchy tunes that are so colorfully melodic, they sound like forgotten favorites upon the first listen. If Albee's vocals can get a little too affected on occasion, as they do on the opening lines of "Wasted Youth," he quickly rights himself with his knack for effortlessly memorable melodies, not to mention the band's muscle -- and as good as the songs are, equal credit should go to ...
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