Interpol CD review

Ok, i got the album today, and i recommend it to anyone - its
absolutely top class. Here is PitchForkMedia's review of it:

Interpol, from http://www.pitchforkmedia.com/record-reviews/i/interpol/turn-on-the-bright-lights.shtml

Rating: 9.5 - Spectacular
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. 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. 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. It's okay to be suspicious. But back up. These guys are on Matador, not RCA. 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. 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. 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.

Interpol's debut full-length is wrought with emotional disconnection and faded glory, epic sweep and intimate catharsis. 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. 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.

Speaking of Closer, Interpol can't seem to shake being likened to Factory prodigies Joy Division. The cause, however, isn't necessarily evident. Indeed, Daniel Kessler's sublime, angular downstrokes follow the smooth confidence of Carlos Dengler's basslines, and Paul Banks sings with Ian Curtis' downcast delivery and dramatic flair. The difference, however, lies in the music itself: what Joy Division played was sparse and jagged-- punk with a melancholy, but often minimalist bent. Interpol, meanwhile, are punk in ethic alone; their music bears few of that genre's signatures, with the band instead immersing themselves in a grander, more theatrical atmosphere with lush production that counters their frustrated bombast.

"I will surprise you sometimes/ I'll come around/ When you're down," Banks gently affirms over echo-drenched guitar simplicity and rolling bass, as "Untitled" hovers on artificial strings to open Bright Lights. The words are plaintive yet assertive, in agreement with the unsteady warble of the background, and they set the tone for an album that is equally paradoxical--often bleak, but surprisingly uplifting. Each of the album's eleven tracks evokes raw, unsettling need suffused with delicate serenity. It can be difficult to absorb this much emotional relentlessness, as Banks unflinchingly confronts you with it at all times, but it's precisely this challenge that makes this record so staggering.

The visceral punch of the thematic content is backed at every turn by melody among serrated riffs and amorphous percussion. Discussing the highs and lows of Bright Lights would just be splitting hairs, given its consistency, but a few tracks stand inches above the others. Of the two songs to be carried over from their self-titled EP, "NYC"'s conflicted show of conditional love for the streets of Interpol's hometown is still one of the most brilliant cuts present. And as tight as the EP was, Interpol show how much more they're capable of with "Obstacle 1" and "The New," the range between which is striking. "Obstacle 1" is as close to Joy Division as Interpol gets, coupling harsh, restrained outbursts of aggression with disturbing imagery as Banks clearly gasps, "You'll go stabbing yourself in the neck." The tense lead guitar is a counterpoint, giving these explosive bursts added depth, just as Ian Curtis' emotional collapses were made more poignant by the fragile guitar that cradled them. By the time the album reaches "The New," the anger has dissipated, leaving only the calm sound of sober acceptance.

The tragedy of music press is that when the buzz spirals out of control, people are apt to question a great band's validity, whereas if the band went largely unknown and as 'discovered' independently, so to speak, folks would be less likely to reject the praise out of hand. Whether that will happen with Interpol remains to be seen, but as a member of the press, it's my duty to tell you, from one music fan to another, what I personally think of an album, and in this case, it's that Turn On the Bright Lights has been one of the most strikingly passionate records I've heard this year. That other people I've spoken with have the opportunity to experience it, and that they feel similarly about it, can only be a good thing.
--Eric Carr, August 19th, 2002

White Stripes release digital EP

From: demhopkins
Date: Tue Aug 20, 2002 8:56 am

Virgin Records has created what they're calling a digital EP from The White Stripes. What that means is that a collection of four new tracks by the band--two live and two recorded in the studio—are available exclusively on the Internet. The studio tracks are entitled "Jolene" and "Hand Springs," while the live tracks are "Hotel Yorba" and "Love Sick.”
--Dem

The Soundtrack Of Our Lives (TSOOL)

From: demhopkins
Date: Tue Aug 20, 2002 1:17 am

Monday night in Chicago and the club is jammed--even though the band is opening for Oasis tomorrow night and 3000 people have sold out that show. After a good set by The Assassins (I hadn't heard them until tonight) TSOOL takes the stage--one member at a time and immediately owns the crowd. Four songs into the set--they strip down the music to just keyboard and the singer. I'm not prepared for a Billy Joel type moment--and it doesn't happen. It is immediately clear that their material is so fucking good that they can do almost anything they want with it. Moments pass and a 3 guitar assault returns and the room is rocking once again. The guitars aren't a wall of sound--they are much too tight for that. The guitar mix (not the vocals) is so good--that it is a barrage of layers that comes dangerously close to prog rock without a hint of boredom. This is obviously the first band that I have heard from the new (fill in the blank) music movement that is ready to go from small club to an arena in one day. I hate arena rock--but this band would bring dignity to it. Andy, thank you so much for pushing this show--I was undecided until I read your post. What a Monday. Finally, TSOOL did something I have never seen before. The singer comes out into the room and motions for the crowd to sit down. I was laughing so hard because I just didn't think that it would happen. And then I watched as the entire front of the room all sat down on the floor--and let the man do his work. I'm not sure it is something I necessarily want to see happen again--but this band completely owned the room. Let me echo Andy's comments--YOU MUST SEE THIS BAND now. It won't be long before they are playing very large venues. They did an almost two hour show--and no two pieces sounded alike. I've heard the criticism that their albums sound like career retrospectives--I kinda agree. But, if so, most bands wish they had this type of material to put on a greatest hits compilation.
--Dem

The Cooper Temple Clause

From: melanie
Date: Wed Aug 7, 2002 3:14 am

I got to see two shows by The Cooper Temple Clause over the weekend in Sydney and Melbourne. They are fantastic live. One friend I'd lent the CD to come along under protest but after 1 song he was "they're really good"… Afterwards he said the CD was a bit too all over the place but it worked live, so even if you don't like the CD, go see them live, it is worth it. ABSOLUTELY AMAZING live!!!!!

I asked about US tour a bit late in the evening (about 6am). They had intended to do some showcase gigs earlier this year - NY, SXSW, LA, but had visa problems. I think the problems were more due to everything taking too long due to Sept11 rather than actual problems, but time ran out and it didn't happen. They are hoping to get there this year, but I'm not sure if it was just showcase or a proper tour. Poor boys have no idea of the distances in US, typical English. I really should've thought to ask earlier in the night... They're lovely friendly approachable guys.

The Sydney show was basically about 90% industry guest list, so the word is obviously not out here yet! They're meant to be back in January for the Big Day Out festival - that'll be 3 visits to Australia in less than 12 months - unheard of I tell you!
--Melanie