![]() Speaking of Closer, Interpol can't seem to shake being likened to Factory prodigies Joy Division. ![]() ![]() Loss, regret, and a minor key brilliantly permeate jangling guitars and rhythmic and tonal shifts- and although it's no Closer or OK Computer, it's not unthinkable that this band might aspire to such heights. Inevitably, the hype exceeds return (that's why it's hype- and, to be fair, Interpol has largely flown under the radar compared to most other NYC acts), but there's no getting around that Turn On the Bright Lights is an incredibly powerful and affecting album. Interpol's debut full-length is wrought with emotional disconnection and faded glory, epic sweep and intimate catharsis. And now that they've won our attention, after three years of toiling in obscurity, it's mere icing that their debut full-length delivers upon what the whispers only hinted at. The fact that these guys see press at all can only be attributed to their die-hard contingent of fans (I'm only recently converted), and was earned purely through legwork and a handful of underpublicised EPs. The hypester division of Matador is a guy in a closet (and he's only part-time) the 'spin' budget for Interpol wouldn't even be a down-payment on Julian Casablancas' designer leather jacket. ![]() Plus, at a glance, Interpol's snazzy suits and expensive haircuts seem symptomatic of a carefully spun image designed purely to separate money from wallets. And who can blame them? After the veritable shitstorm of publicity drummed up by a certain New York City band- one that had the audacity to not be the denim-clad messiahs of rock and roll we'd been promised- directing a little skepticism toward NYC's buzzmongers is probably healthy. As you read this, there are likely a number of people in your midst summoning up all the backlash powers their mortal frames can bear, those who believe the boys from Interpol to be the latest shock troops in the battle of PR style over artistic substance. ![]()
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