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Ten years ago, Interpol survived a baptism of fire. Doubts about Paul Banks and his associates were multiple: someone had labeled the band by inserting it in a new family of hypothetical musical renaissance that would have caught on to New York. After the Strokes, of course. And then the community that lives by bread and hard-indie had turned their noses up and shouted to the smell of burning in the face of formal clothes and faces clean and tidy Interpol, trying to bollarli soon as an initiative daughter more than some clever trick PR, rather than a need for healthy expression of genius (literally). If ever, then, indeed, been a real New York scene that has taken hold after the debut of both the group Casablancas, as the eleven tracks of "Turn on the bright lights", is debatable topic, but of little interest and even less importance. This is because, whatever you see, Interpol still had something to say: they were the trick of a major label (so that "Turn on the bright lights" was released on Matador) and even the botched copy of Joy Division, another arrow shot straight to the heart of the project is supported by the voice of Banks from below sumptuous Carlos D. and found Daniel Kessler's guitar.
That "Turn on the bright lights" has rekindled the lights in the direction of epic and tragic story of Ian Curtis of the band is obvious, as it is obvious that it was a wholesome influence and not an end in itself scondinzolante quotations. It is also clear that Interpol will never be able to replicate the efficiency, power, transport and crystal class of that first LP, history, curiously, be paralleled with that of its Strokes. To celebrate the two decades that separate the original release of the album, which took place in mid-summer, however, (what a mistake!), Universal and the band have assembled remastered edition accompanied by a 28-page booklet, a DVD with three videos ("PDA," "NYC," "Obstacle 1") and some live performances for the first time, but also an extra CD. The usual CD Extra, one might say, rightly, moreover: the band had made that record for five years, but was evidently not much left outside the tracklist known and appreciated by the public in ten consecutive seasons.
Are part of the package songs already known in other forms (including "Precipitate", "Song seven", "A time to be so small" that will be part of the second disk, "Antics") or, in most cases, demo and alternate versions that do not add much new, but allow to fit into the history of the disc itself. To interpret and live, albeit with obvious delay, the process that led to the definition of the final form of jewelry that has stood up well over time. On all stand out the demo of "Roland", sung with a more broken and vital, understandably less finished, and at the end of the day, closer to the stylistic Joy Division. With "Get the girls" influences new wave and post punk British are blinding, it seems that he came across a curious unpublished "Three imaginary boys" (The Cure), and is anything but a criticism, mind you. Some might be puzzled by the "third version" of "Leif Eriksson", lacking one of the steps with the greatest impact is the final song, and the album. But this is to be sought in a collection of evidence, attempts, sketches, capable of instilling a more human touch and add a sense of uncertainty, typical of the debut, a record that, on the contrary, it seemed from the first listen the 'the work of a band capable, confident and teacher to assemble 50 minutes of tension that was impossible to resist.
The remastered version of "Turn off the bright lights" does not give some kind of new views, but remember just what was the impact the original work. The production of Gareth Jones, formerly of Depeche Mode and Erasure, had worked and continues to work: in the crescendo of guitar and sickly nell'ammorbante bottom of "The New" in the solo evocative of the aforementioned "Roland", the intro "Stella was a diver and she was always down" in the confessional of "NYC" and "PDA" ... in the unlikely turns funky bass of Carlos D., almost to shore hot marble slabs.
Ten years ago, "Interpol" is presented by almost unknown in a free concert at Rolling Stone in Milan, now running between halls and arenas, have returned to Matador, greeted their bassist and even if it can not be said little failures, record releases next to "Turn on the bright lights" have not been able to produce a mixture so lucky. Everything that Interpol did not survive, it is their first LP. But given the quality of the same, few people would have been able to. (Re) discover it now.
TRACKLIST: (CD1) "Untitled"
"Obstacle 1
"NYC"
"PDA"
"Say hello to the angels"
"Hands away"
"Obstacle 2"
"Stella was a diver and she was always down"
"Roland"
"The new"
"Leif Erikson"
(CD2)
"Interlude" (iTunes single)
"Specialist" (Interpol EP)
"PDA" (First Demo, 1998)
"Roland" (First Demo, 1998)
"Get the girls" (Song 5) (First Demo, 1998)
"Precipitate" (2nd Demo, 1999)
"Song Seven" (Original Version) (2nd Demo, 1999)
"A Time to be so small" (Orig Version) (2nd Demo, 1999)
"Untitled" (Third Demo, 2001)
"Stella (Third Demo, 2001)
"NYC" (Third Demo, 2001)
"Leif Erikson" (Third Demo, 2001)
"Gavilan" (Cubed) (Third Demo, 2001)
"Obstacle 2" (Peel Session, 2001)
"Hands away" (Peel Session, 2001)
"The new" (Peel Session, 2001)
"NYC" (Peel Session, 2001)
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