Interpol Turn On The Bright Lights 10th Anniversary Rarlab

I will be pre-ordering both formats.love this recordTurn on the Bright LightsIn 2002, we released our first album, Turn On the Bright Lights. We had waited close to five years for the opportunity to record an album. Needless to say this was a memorable moment for us. We never had any expectations for how the album would be received. We just wanted to present our music as an album to anyone who would be open to hearing it.

• Bright Lights Movie 1935
• Bright Lights Tomorrow's Forefathers

It was incredible to finally tour and see people react to these songs. We never could have imagined that the album would have reached so many people throughout the world.We spent a good deal of time this past year digging through our archives and asking others to dig through theirs in the hopes of uncovering some forgotten material. The result of our hunting and gathering has yielded this Tenth Anniversary Edition of Turn On the Bright Lights. We wanted to do something special for the fans who have always supported us. We wanted to do something special for the best fans in the world. We hope you enjoy it.Sincerely yours, Daniel KesslerTurn on the Bright LightsDouble LP/DVD28-page photo booklet and double-LP/DVD.

Includes Interpol button. Ships for receipt 11/19.PRE-ORDER $29.98DOUBLE CD/DVD48-page photo booklet and double-CD/DVD. Includes Interpol button.

Ships for receipt 11/19.PRE-ORDER $20.98DIGITALChoice of 320 kbps MP3, FLAC or Apple Lossless. Delivered on 11/19.PRE-ORDER $14.99All CD and LP pre-orders come with a replica of the band's first item of merchandise, a button with the original Interpol logo.Release date: November 20th, 2012Now fully remastered in a beautiful deluxe hardbound book with unreleased photos (48 pages in the CD, 28 large pages in the vinyl) and a second disc of bonus tracks, many unreleased, plus demos and B-sides and a DVD.The album will be available as a double CD+DVD, double LP+DVD, and digital album with digital booklet. I love this album but I'm a bit disappointed that Interpol deceided to join the 'Anniversary Club'. At the moment that has become quite normal for bands but I don't really see a point in musicians celebrating their own work. When they rather should move forward.

Bright Lights Movie 1935

In fact its quite boring. Make no mistake: I think 'Our Love To Admire' and 'Interpol' are terrific albums.

So.I just wish I-Pol would get a new bassplayer and.go on!!Cudos to The Strokes for NOT coming up with a anniversary version of 'Is This It'. I love this album but I'm a bit disappointed that Interpol deceided to join the 'Anniversary Club'. At the moment that has become quite normal for bands but I don't really see a point in musicians celebrating their own work. When they rather should move forward. In fact its quite boring. Make no mistake: I think 'Our Love To Admire' and 'Interpol' are terrific albums. So.I just wish I-Pol would get a new bassplayer and.go on!!Cudos to The Strokes for NOT coming up with a anniversary version of 'Is This It'.

Click to expand.Weeeeell, I always felt that the band got (even) better over the years and subsequent releases have grown on me. Unlike The Strokes for example. I don't know.this 'Classic so and so' thing that started in the 90's has really gotten out of hand. Suddenly everybody celebrates everything.' October is the tenth.month so let's have a celebration!' Shame is that I'm totally convinced I-Pol have several great albums in them. With or without Carlos D.

So: No need for nostalgia! Click to expand.Their last couple albums have been. Personally I think these guys best days are way behind them (and they know it) and this is just a cash grab. As for whats coming; Im pretty damn happy with my RTI vinyl. This album was mixed in ProTools so I cant imagine the new vinyl sounding better than what Greg Calbi did with it over at Sterling Sound. Some of bonus tracks do sounds intriquing though, but many have been available for years.

Im gonna wait this one out.As far as the 'remastered' CD goes, is there any reason to think its not gonna be another brickwalled affair?

On the surface, the story of 's 2002 full-length debut is almost annoyingly of its place and time: four guys meet in New York, start a band, make tightly-wound indie rock jams that sound great at your favorite mid-gentrification Williamsburg bar, sign to a renowned independent label, and the rest is history. But the early-aughts New York of Turn on the Bright Lights is not the young, vibrant, and impossibly cool place of cultural myth.

It is a darker and more complicated place, fraught with disappointment and disconnection. It is a crushingly real place, rendered in such vivid emotional detail that it rings true even to those who have never set foot in the city. This stellar 10th Anniversary reissue documents the process by which a handful of pretty-good songs became a truly great album, making it painfully and unequivocally clear that Turn on the Bright Lights is the sum of its players, not its influences.In retrospect, 2002 may have been the very year that we stopped talking about how music sounds, and started talking about what other music it sounds like. 'Interpol sounds like ' was one of the first critical observations to turn into a full-fledged meme. In the intervening years, other bands have sounded a whole lot more like Joy Division, and the comparison now feels like just that: a comparison.

While Joy Division could channel enormous amounts of energy through Ian Curtis's intense delivery, Interpol pulled off a real magic trick by constructing a framework complex and dynamic enough to bring singer Paul Banks' inscrutable deadpan to life. Banks's words can be downright laughable on paper, and are often sung as if WRITTEN OUT IN ALL CAPS WITH NO PUNCTUATION. But from this insistent, exaggerated blankness, the band coaxed a genuinely unnerving sense of alienation and melancholy. These songs are packed with a staggering amount of rhythmic and melodic tension, sometimes amplifying minuscule expressive nuances in Banks's voice, and sometimes drawing attention to their disconcerting absence.Each individual member of the band has his own role in piecing this puzzle together. Drummer Sam Fogarino is the perfect anchor for Carlos Dengler's busy, melodic bass lines, keeping the rhythm section forceful and grounded.

Guitarist Daniel Kessler is the album's unsung hero, expanding the band's dynamic range by oscillating between wide, monolithic chords and narrow, winding leads. The album's second single 'NYC' achieves two unlikely successes pioneered by Matador labelmates: structuring a ballad around loud, steady drums and withholding all bass guitar until the chorus.

Bright Lights Tomorrow's Forefathers

'The New' slips a disco bass line under a morass of swirling, detuned guitars. There are a lot of things about Turn on the Bright Lights that should not work, and would not work were they not so carefully thought through and artfully implemented.Three batches of are far and away the most interesting bonus materials on this, as they show just how close the album came to not working. The first three-song demo, recorded in 1998 and featuring album cuts 'PDA' and, comes off as an unremarkable practice tape by a band with lots of good ideas but insufficient energy and chemistry to pull them all together. The second three-song demo, recorded at Brooklyn's Rare Book Room in 1999, is more worked over with decidedly mixed results; there are some jarringly tacky too-loud keyboards here, and a sing-spoken interlude that can't help but bring to mind Crazy Town's 'Butterfly'. Somewhat ironically, it is only the third and final four-song demo, recorded at the band's practice space, where Interpol stops sounding like four guys in a practice space tentatively running through busy rock songs. Much of this can be credited to Fogarino, who joined the band between their second and third tapes and brought with him a rhythmic confidence and swagger that provided the crucial missing piece of Interpol's singular sound.This progression of demo recordings documents not only the evolution of the band's playing, but also their increasing attention to texture and ambiance.

As the group grew more confident, the gritty sonics of their demos became less incidental to the songs they were making, and more a part of the songs themselves. Producer Peter Katis did an amazing job of preserving and amplifying this rawness, and the band themselves crucially revisited many elements of their demos to better suit their evolving capabilities. The slight changes that Fogarino made to the kick pattern at the beginning of 'PDA' completely make the song's signature introduction, taking it from 'oh, there's a drumbeat' to 'OH, there's THAT drumbeat.' Banks gave his lyrics a thorough tune-up before the recording the album, excising his most rhythmically formless lines and shoring up the critical interplay between his voice and the rest of the band.The extensive liner notes here are as much about the city in which Interpol operated as the band itself. It's certainly interesting, especially for those who are up on their New York City indie rock landmarks.

And while the photographs included here do a good job of documenting the physical locations where this album was born, the album itself conveys the setting in a deeper way. Suggesting that this album is simply a product of its time and place is no less naive than suggesting that anyone who has ever been in love could easily write, arrange and record an amazing love song. There were a lot of good bands in New York in 2002, but only one band made this record.