Interpol – Turn On The Bright Lights

Reviewed by: Paul Wilson

Detached from the stereotypical indie scene of New York circa 2001/02 emerged a truly efficient, truly heartfelt band; Interpol. Supposedly named so because of their military-like organised nature and precisioned effectiveness on their respective instruments, this is a band who got it right from the off.
2002’s debut Turn On The Bright Lights, whilst not achieving wild commercial success, was a true hit among critics and followers alike. The album marked the birth of a loyal and devoted fan-base but more importantly, and more lastingly, it marked the arrival of a great band with a ripe bunch of guitars, percussion and melodies.

Kicking off with the ever-so-soothing ‘Untitled’, showing great signs of the delights to come from the band. “I’ll surprise you sometime, I’ll come around, when you’re down”, a quintessential Paul Banks one liner is all it takes for this song flow. And flow it does, effortlessly, careering its way through bouts of throbbing bass and sparse guitar. The somewhat muted start of ‘Obstacle 1’, their first big single, soon erodes and dissolves (with the help of relentless double-bass drumming from Sam Fogarino) into an insanely likeable tune. “It’s different now that I’m poor and ageing, I’ll never see this place again” Banks’ lyrical prowess is largely understated and progresses undeniably as the album progresses.

Many a time it’s been said that there can never be such a thing as ‘the perfect song’, and many a time I’ve heard people claim that ‘NYC’ is perfect; whilst not maybe perfect, it’s not far behind whatsoever. Enduring, loving guitars from Messrs Banks and Kessler provide the landscape for a desolate New York City night, while Banks voice paints the canvas a dark blue. Solidly founded on superb drums and powerful bass, this is Interpol’s attack on the big time. The song from which the album title comes from, the lyrics show Banks at his most endearing. “I’m sick of spending these lonely nights, training myself not to care”.

Speaking of attacks on the big time, Interpol decide to pull another one straight of the bag, unrelentlessly, with the superb ‘PDA’. The simplest and most foot-tapping of drum intros and the band are away. Chopping guitars, cutting lyrics and a sharp sense of melody makes sure this song is up there with their best. A personal favourite follows up the wonders of ‘PDA’, and ‘Say Hello To The Angels’ is no less wonderful. A very 80s style disco-esque romper, instantly likeable, careering towards its finish at pace; “If I seem lazy it’s probably because I’m saving all my energy to pick up when you move into my airspace, move into my airspace”.

‘Hands Away’ is a lesser moment on Interpol’s debut, but when it comes to Interpol, even lesser is magnificent. Much in the vein of ‘Untitled’, with its sparse lyrics and incredibly soothing drums and guitars. The pace picks up again with ‘Obstacle 2’, a follow up to the original, which is a completely different offering, baring no likeness to its counterpart. “I feel like love is in the kitchen, with a culinary eye, he’s making something special and I’m smart enough to try” soothes Banks, in a song where Interpol reinforce their trademark concoction of battling guitars, and squabbling lead and backing vocals.

‘Stella Was A Diver And She Was Always Down’, now somewhat of a cult classic, a song many fans accredit their initial fondness of the band to. Curious lyrics and inventive drumming make this is a lasting tune, which matures with every listen. Whether Stella is an actual person or a metaphor for something altogether different it is unknown, but the enigma of Stella certainly means something to lead singer Paul Banks, with audible emotion; “Stella, I love you, Stella, I love you, Stella, I love you.” Following the relative melody and calm of Stella comes an often live-set closer, the energetic ‘Roland’. A superb riff from Kessler provides the base for the tune, as it descends into a thrash of sounds at its climax, a true favourite. “He severs segments so secretly you like that”: unnerving lyrics backed by the most agreeable of sounds.

The penultimate ‘The New’, gives the feeling itself the record is winding to its finish, the band having thrashed out their most rock ‘n’ roll moments earlier in time. Again, following in the rich and successful vein of ‘Untitled’ and ‘Hands Away’ , ‘The New’ is arguably the best pick of the bunch. Banks’ voice sounds at its ultimate pinnacle, searing with emotion, an undeniably beautiful voice cries: “And baby, my heart’s been breaking”.

Always ones to finish with a punch, Interpol clock off with ‘Leif Erikson’. Again showcasing Banks desire to have the greatest voice in the world and damn near succeeding, this was, and remains, one of the band’s greatest offerings. Tuneful, slightly bare but incredibly rich all at once, this is stereotypical Interpol, which, of course, is brilliant. Banks in a cheekily promiscuous mood: “Well then hook me up and throw me babycakes ‘cos I like to get hooked”, it’s a perfect finish to a very strong album. A contemporary classic from a post-Strokes New York outfit.