Interpol
Turn On The Bright Lights

THE REVIEW

One day, while browsing on ondarock, I stumbled upon the review of a band that was unknown to me until that moment, Interpol. The review spoke about the first work of this band, "Turn Up In The Bright Lights" indeed, describing it as an excellent debut from a promising band. Definitely intrigued, the next day I rushed to buy this CD and subsequently to put it in the stereo.

The first listen is definitely convincing: what stands out is the vocal timbre of the singer, Paul Banks (whose voice recalls, though not entirely, that of David Bowie), and the excellent skill of the guitarist, Daniel Kessler, members of the band along with Carlos Denger (bassist and keyboardist) and Sam Fogarino (drummer). This first approach was followed by many others, and in quick succession. This is one of those albums that one would never get tired of listening to: it's never repetitive, never banal, but instead always seems to reserve something new every time you put it in the stereo.
The opening is represented by "Untitled," a sort of preparation for what awaits the listener. Banks' voice appears melancholic and leaves a lot of space for the instrumental part, which is definitely well-designed. A, albeit slight, influence of Radiohead is noticeable, especially in the singing part. One of the best songs on the album. "Obstacle 1," excellent at the end, is a valid episode that leads us to the splendid "NYC," dedicated to Interpol's city, New York. It is a beautiful and engaging ballad, the classic song for raised arms and lit lighters: it draws you in more and more second by second, so much so that, in the end, it forces you to listen to it again and experience the same previous emotions. It continues with the more rhythmic and fast "PDA," which is easy to define from the first notes: the whole piece develops on similar chords until the concluding part, starting with a guitar solo to which all the other instruments gradually join until the final reunion with the singer's voice. This last track opens a phase of the album dominated by tracks united by an engaging and at times aggressive sound. Serving as an interlude in this part of the CD is "Hands Away," in my opinion, the true masterpiece of Interpol. A mix between psychedelia and electronics, producing almost Floydian atmospheres. It is difficult to explain what one feels listening to this song: it's as if you’re being transported to another dimension, undertaking a slow journey in a dreamy environment, estranging yourself from the outside world and falling into a full trance.
After this standalone chapter, what had previously been interrupted continues, that is a series of lively and fast tracks. It's time for "Obstacle 2" and "Stella Was a Diver and She Was Always Down." The latter is another piece of great depth, with that angry and continuous chorus that sticks in your mind and the inevitable melodic trait in which all the instruments blend perfectly, creating an immensely satisfying effect. "Roland," whose lyrics are about a Polish butcher who goes around with sixteen knives (!), closes the more aggressive streak and opens the door to the finale of the album, where, with "New" and "Leif Erikson," there is a return to the characteristic style of the initial phase of the album. The last two tracks represent the worthy conclusion of this beautiful work, which ranks among the best CDs of recent years and leaves a glimpse of light in the bleak and gloomy scenario of today's music.