Interpol - Turn On The Bright Lights

Turn On The Bright Lights is just one of those records for me. When it hit – ten years ago on Aug. 19 – I was at the age when hearing something you really liked mattered the most. I became sort of obsessed with it. The leadup of anticipation and ensuing payoff of seeing the band play at Kansas City’s Madrid Theater was so impactful to me, at the time, that I have no doubt I could accurately detail the interior of the Madrid even though I haven’t stepped foot inside of it since (Calla opened. God, remember Calla?) I just now pulled the setlist (give or take one or two songs) from the crevices of my mind. Since Interpol was just picking up steam at the time when we saw them — it was pretty rare for an East Coast band gaining traction to make a Midwest stop this early along — you felt that, in the arrogant way of teenagerdom, that you were on to something that others weren’t on to you and that made you smarter than those people. You know how that goes? Turn On The Bright Lights showed me how that goes.

The album itself is, to this day, an awesomely wellworn brick of incisive guitar rock, an assured, confident, risk-taking debut that the band hasn’t lived up to since. As far as the now-fractured group is concerned, the interplay between guitarist Daniel Kessler and bassist Carlos D was at its pinnacle, building this infinitely replayable groove that threads Turn On The Bright Lights together. And not to completely throw Paul Bank’s brooding babble – more on that later, as it deserves its own section — under the bus, but that’s the most timeless aspect of Turn On The Bright Lights, just how locked in those ends are on songs like the chugging storm surge “PDA” and the morose “Stella Was A Diver She Was Always Down.” The “Obstacle” songs – “Obstacle 1” and “Obstacle 2,” ya dig – were different sides of the same book, and given that the songs are structured pretty similar, I’d like to think of them as tonesetters for the respective halves of TOTBL.

Banks’s own bald lyricism – “My best friend’s a butcher / He has sixteen knives / He carries them all over the place, at least he tries / Oh look! It stopped snowing” -– was fun to wade in (even though now I can see anybody over the age of 25 hearing Banks’ lyrics and being all like, “Ugh, fucking young people and their fake problems). I remember summoning that melodramatic “Stel-A-AHHHH” many a time in the high school hallway. At the Madrid show, another audience member sharply corrected a friend’s announcement of what song the band was playing, barking “It’s “The New!,” which instantly became an inside joke amongst my friends. My high school band rehearsed “Roland” for a battle of the bands, eventually choosing to play a medley that prominently involved the theme from Happy Gilmore instead. For a young person, it just felt there was a lot to latch on to, all backed by the noodling, hypnotic dark guitar tornado that Interpol created. Turn On The Bright Lights is one of those records for me.

I remember the album catching a lot of flak for being too sadsack, too derivative, too trite; Turn On The Bright Lights was definitely the recipient of the snotty “I liked this band when they were called Joy Division” served up by the world’s caste of spoilsport older brothers. But you know? I used this record to get into Joy Division. So it goes! Objectively, Interpol hasn’t necessarily aged well, in general; the well-received Antics avoided the sophomore slump before interest fell off a cliff with the erratic Our Love To Admire, whose “The Heinrich Maneuver” now scores a cheesy AT&T commercial. Banks’ melodramatic bent, a pattern which you couldn’t really decipher whether he was being serious or off-handed or ironic or frumpy or whatever when Turn On The Bright Lights first arrived, seems to have spilled over and ink-stained his boring Julian Plenti project.

Turn On The Bright Lights is a soundtrack. I think you can look at it as silly now, but maybe that’s just part of the allure, that kind of hammy, maybe empty-fisted vagueness that makes some rock so memorable and personal to the listener. Interpol described the plight of Stella (whose fall down a manhole reminded her of her “scuba days,” obviously), offered me 200 couches where I could sleep tonight when just a loveseat would have served perfectly O.K., assured me that New York Cares and ascribed all sorts of other kinds of moody mannequins with their masterwork, Turn On The Bright Lights. Paul Banks bragged about his friend severing segments, probably just because “severing segments” has a nice ring to it. Secretly, I liked that.

Comments (94)
  1. Wow, was that ten years ago? Oh yeah .. this album made that winter. Totally.

  2. 2002 was such a great year for music, Yankee Hotel Foxtrot; Turn on the Bright Lights; Kill the Moonlight; Neon Golden; Yoshimi; Everyone Who Pretended to Like Me Was Gone; Sea Change; Sources and Tag Codes…and so many more.

    • “Kill the Moonlight” and “Turn on the Bright Lights” were released the same day. It was a big Tuesday at the Charlottesville Plan 9 records.

    • Source Tags and Codes was awesome. And then there were their other albums…

      • fuck that. it’s criminal the lack of due respect “worlds apart” receives.

        • C’mon, dude. That album is to the Trail of Dead catalog what Be Here Now is to the Oasis catalog. After the success of Source Tags, I started hearing stuff about those guys partying too hard and using coke, and sure enough, what followed was an overconfident, overproduced mess of an album the likes of which had not been seen since Oasis’s Be Here Now. It was a pretty serious disappointment. They lost themselves on that album, and they (and a lot of their fans) never really recovered.

          • I like this analogy more than you will ever know.
            Except, Be Here Now is actually great, if you listen to it like it was a Darkness record. Where every second that Liam isn’t singing is filled with a guitar solo “In a Wayne’s World styling” to quote Noel.

          • World’s Apart is all sorts of dodgy. Great moments sharing space with with just stupifyingly awful moments – and often times within the same song.

            But has anyone heard their latest, Tao of the Dead? It’s really, really good.

          • Be Here Now is greatly underrated as a record because everyone judges it against Morning Glory and Def Maybe. If you remove the shite production there’s solid gold in songs like Don’t Go Away and Stand By Me

          • Agreed. I will defend Be Here Now again and again. There are excellent songs on that record and if some of the weaker tracks had been deleted and replaced with some of the excellent b-sides from that era (Going Nowhere, Stay Young, Angel Child, etc etc), you would have a record that was a worthy follow up. The production is to terrible, but the songs are there.

    • Sea Change was sooo damn good.

    • and let us all never forget where we were when Aaron Carter released his modern classic “Another Earthquake” on September 3, 2002.

  3. subway isss a pornooo


  5. I saw them at the Cat’s Cradle in NC in December 2002, and I remember my friend and I leaving the show thinking it was one of the best concerts we’d ever seen. They were so tight for a young band, and of course TOTBL being their only material, they just killed. Can’t believe this was 10 years ago.

  6. This headline shocked me, I can’t believe it’s been this long (“I can’t believe it’s almost September” – our Moms). I’m tired of feeling old. Kids don’t know what DOS is, it’s happening. I feel the age falling in on me like 200 stories that are boring and stuff.

    I have had an interesting history with Interpol, which I will share now if you would like to read it, guyz. I remember buying TOTBL for PDA, because I liked that song and I knew from p4k that I SHOULD buy this album, but I wasn’t a huge fan. Now, this is going back 10 years, so my ears were young, DOS was still a thing people knew about, and I had some auditory maturing to do. I forced myself to get into it, but I was limited to only truly enjoying the front half and Roland (maybe The New [maybe]), which sounds funny now. In the last few years my love grew to true love of it all because it’s a great album. I liked Antics more when it came out; I would argue its a bit more accessible. Then when OLTA (good dog name?) came out I was into music way more, it was starting to negatively impact my other pursuits and whatnot, so I was ready. It was pretty meh, I ended up seeing them live in Detroit and they were the tits. They turn(ed) on the(se) (amazing) bright (white) lights and I remember Carlos smiling his ass off under that sexstache. And everything has been shit since Paul (Wall) Banks lost his shit in recent years. You could replace the last half of this with Bloc Party and it would also apply (except Silent Alarm was also my NUMBA 1 PANTALOON JAZZAAAAH).

    However what I’m also thankful for is that Paul made me realize I should be listening to hip-hop. I remember reading in Spin or RS that his favourite music was hip-hop which blew my mind. Up until that point, p4k wasn’t really covering hip-hop and I hadn’t gotten beyond Jay-z, beastie boys, and the neptunes (not that I needed more). So then I dove into hip-hop, I guess because of Paul? This makes me sound lame as tits but it’s true. Side note: throughout this time, I was pooping consistently, if not slightly more diahhrea-y than desired. Not sure if I had a bug or what, but they tested my poop and said it was fine. It’s cleared up. Who knows. Maybe it was the stress of not knowing what to listen to and relying on p4k and other musicians…. not that that has changed – Full circle. Ahhh LiFE.

    Where am I?

    - D

    • Yea, I’m normally pretty resistant to “look how old you are” stuff, but this one kind of hurt.

    • “And everything has been shit since Paul (Wall) Banks lost his shit in recent years.”

      I’ve been hot and cold with Interpol but overall, never in love with them…I think the main reason is that so many of Paul’s vocal melodies are way too similar. The guy is seemingly locked into singing major 3rds in too many phrases…now some of you may start crying “don’t give me that music theory math geek shit blah blah” but the point is that it’s boring and pretty unoriginal from one song to the next. Funny that D-tilla cites Bloc Party (and I would agree that Silent Alarm was one of the best albums of that year, if not those five years) because Kele started to show in the following albums that he also had a difficiency for coming up with new melodies. Anybody that argues with me on this is simply wrong – it’s a measurable thing. What you can disagree with me is if you personally thought that it became boring or not…but ther’es no doubt that it’s a lot of regurgitated material.

      Paul Bank’s vocal parts from one song to the other is like the musical equivalent of making 100 different cupcakes with rhubarb being a main ingredient…it’s cool at first but you soon grow tired of tasting rhubarb.

    • “feel the age falling on me”… well said.

  7. Feeling so old. Oh god.

  8. I got this album because I had heard some stuff off Antics and asked my brother to pick up that album for me one night when he went out. He came back with this one. I was bummed, but listened anyway and was pretty much blown away. I listened to it nonstop for a while. Then I got Antics and wasn’t that impressed. Then I stopped caring about Interpol.

    I do still play Turn On the Bright Lights from time to time. That’s crazy that it’s 10 years old.

  9. All the people that you’ve loved, they’re bound to leave some keepsakes.

  10. I always thought it was “My best friend’s a virgin / he has sixty-nines”

    Of which he carries all over the town.

    I think my misheard lyrics are better.

  11. Shortly after this album came out I got punched in the face by a girl when I saw them in Philly. Later, at the end of the show this punk azz claimed he was going to steal the drumstick I caught from Sam, my drummer idol at the time. This prompted a verbal confrontation that spilled out into the parking lot and ended with my friend throwing a bag of quarters at the kid’s car. Contentious show, but Interpol was incredible. Plus Blonde Redhead opened.

    Just wanna throw out that yeah, this and Antics might be their best albums, but Our Love To Admire still had some great stuff on it and I finally listened to their self-titled recently and motherfluffin loved it.

    • It sounds like they’re trying to grasp for their old sound, but there are still some great songs on the self titled and I think it’d a bit underrated. I prefer it to OLTA.

    • Great fight story haha and it’s great to see someone else likes the 4th album and Our Love to Admire was bitchin’.

  12. Everyone has a friend who dismisses them as a Joy Division ripoff (including me). But as I became a bigger Joy Division fan, I realized there are very few concrete similarities. The voice? yes. for sure. Other than that…they’re “dark” sounding? Carlos D wears his bass at thigh-level? Honestly, there are very few Interpol songs that even sound similar to Joy Division.

    • It’s always been a very lazy comparison. You could certainly see them coming from the same scene but they’re very much their own band. Although right now they’re dangerously close to sounding like an Interpol rip-off.

  13. wow, ten years. i sure have smoked a lot of weed.

  14. Hey thanks for the comments on this one folks. I’m going to play with the braids that Y’ALL came here with tonight, in honor.

  15. Just listening to it now. Fuck, I always forget how good this one is until I listen to it after having not heard it in a long time.

  16. Best song ever about stabbing yourself in the neck.

  17. whats always struck me about TOTBL, was Paul’s voice. It sounds, and the whole band sounds like new york at night. I feel like Interpol are hugely underrated. Great vocals, guitars and drums. The whole vibe is great. It doesnt get much better than TOTBL. PDA still leaves me in awe, that outro could be the greatest outro in history, the wall of guitars at 3:09 until the end. Beautiful. 200 couches for you to sleep tonight!

    I think these guys are really adept at coming up with a insanely catchy melody. Obstacle 1 is a prime example. Pauls voice and the instrumentals just lull you into a trance. She can read she’s bad, oh she’s bad! And that part from 240 until 320, with sam doing his thing, the guitars chiming, and paul wailing away its brilliant. She packs it away!

    This is the sound of indie rock, modern indie rocks beginning, Is This It, started us out, this continued to push the genre forward. Hope this is remembered as a stone cold classic, because thats exactly what it is.

    The dark atmospherics of Leif Erickson. Picture you and me together in the jungle it would be okay. I;ll bring you when my lifeboat sails through the night.

  18. and yes, this along with silent alarm, 2 of the best albums of the decade, straight up

  19. That fucking album cover. To me it is as iconic as the monolith in 2001: A Space Odyssey. It’s also immediately under any Radiohead album on the list of “Reasons I’m A Music Nerd Now”.

    I was a little late to the Bright Lights party. I worked with a guy in 2003 who I overheard saying, “I FUCKING HATE INTERPOL!” I avoided them. But then I was reading The DaVinci Code (REMEMBER THAT BOOK?) and in that story they mention the ACTUAL Interpol a whole fucking bunch. Every time I read a sentence containing Interpol, I thought of that album cover (having never heard the album). So when I got back from vacation (this was Spring of 2004) I hopped on iTunes and sampled :30 second bits of a few songs (big mistake) and was completely turned off by Paul’s vocals. I even told my sister on our way out to Coachella that year, “You heard of Interpol? Don’t, they suck.”

    Hilariously enough the album I WAS listening to was The Rapture’s “Echoes”. Hilarious because Luke’s voice is probably 3x more grating than Paul’s at first. Either way Coachella flipped the music switch and I was perusing the message boards and STILL saw Interpol’s name popping up everywhere. OK fine! Between their name, album cover and seeing them mentioned everywhere I bought the album. Listened to “Untitled” and the rest is history. It is easily one of my most cherished albums of all time.

    On my old computer I’m pretty sure “NYC” had a play count of 1,000 because of sleep and also because of amazing. Turns out getting into them in 2004 played to my advantage, as my love for Interpol was rewarded with like a 3-4 month advance leak of Antics (remember that?). So I quickly had a playlist containing both Antics & Bright Lights and quickly became an Interpol fanatic.

    Made my first trek to Dallas (the first of OH SO many) just to see them live. The Secret Machines opened up (REMEMBER?) and I had been listening to their debut so it was double bonus… until the most dapper men of that time strutted out on stage. Getting to see tracks like “Hands Away” next to “Not Even Jail” was orgasmic. Loads everywhere. So imagine my shock when they’re finishing up their set, some douchebag throws A BELT that narrowly misses Carlos. Paul talks it off as they’re leaving stage and then this fucktard NEXT to me throws his fucking album at them and hits Sam in the back of the head. Sam turns around and lunges at the mic that was turned off, but the look on his face was deadly. Because of that I was robbed of hearing “Stella” live… had to wait 6 years to hear it again.

    And so what if OLTA and self-titled don’t live up to those first two albums? Aren’t we all satisfied thinking back to Weezer and saying “Yeah, that band that released those two great albums” and still holding them in a positive light. I mean let us hope Paul doesn’t get all Rivers on us in the coming years, but I think Interpol has already been carved out in the legacy section. Their live shows are some kind of mathematical precision that simply melts brains. Unfortunately the departure of Carlos D was the end of this band. They always said Interpol was the four of them. I kind of hope they just call the band off and leave it at four albums…

    tl;dr “Something to say/ Something to do/ Nothing to say/ When there’s nothing to do”

    • Your comment just made me switch to “Nowhere Again” by Secret Machines and broke me out of my Interpol reverie, so plus 1 billion. I read most of your comment too!

      I think a description of an Interpol/Secret Machines would definitely include the word “precise”

      “….right on the kick drum”

  20. Shout out to the bass line on “Obstacle 1″ — one of the best ever.

  21. Now I love this album. And Interpol always hits my playlists no matter the occasion but I saw them open for U2 in St. Louis last year: crap. I don’t know if they were having a bad night or what but it was just plain awful. I went inside and had a beer.

  22. Every time I hear Untitled……..everytime!

  23. Is there actually that 2whiny4mebro backlash? I’m just shy of 25, so perhaps in a month’s time i’ll suddenly be all “HAHA WHITE PEOPLE ANGST.” It’s happened before. God, has it ever. But I’ve always viewed the album as close as you can get to a melancholy ambience WITHOUT being angsty, perhaps alongside Slowdive-similar shoegaze.

  24. I just did a search on this article and the ensuing comment thread, and raptor jesus’ comment is the first instance of the text “NYC”. How the hell is that possible?

  25. Key 2002 party piece: playing Say Hello to the Angels to someone and having them *always* say something like, ‘Wait wait, I know this, it’s Stevie Knicks, right? No, hang on, it’s the Clash. Aw, no it’s The Smiths; I LOVE The Smiths. Oh, wait….’

  26. In 2002, I had no money. But I kept hearing about this Interpol band. Flash foward to 2011, when I had a bit more money, and access to a better library.

    So I wound up with all four albums, having pretty much heard nothing of them at that point. I spent about two months listening ONLY to the four albums in a row, over and over.

    So I can tell you TOTBL is best, followed by self-titled. Trust me, I did the experiment. The weird thing is, since I didn’t even KNOW you weren’t meant to like OLTA as much, I liked it anyway. Just not as much.

    • Who cares if you like Our Love to Admire or not, your entitled to your personal feeling

    • I had a similar experience, I hadn’t heard much of them and got their whole discography, it was right after OLTA came out though. I thought Antics was the “new” album at the time and thought OLTA to be the second album. I even remember, very vividly, talking to someone about Interpol and saying the new album was the best of the bunch and that the second album was a disappointment. They wholehearted disagreed (rightfully so). I wish I could track them down and set the record straight.

  27. I was very late to the Interpol party, considering I was only 7 when TOTBL came out.

    I really got into music in 5th grade, which was 2007, when I got Guitar Hero 3 for Christmas. This got me into The Killers, Weezer, Smashing Pumpkins, etc., popular alt-rock bands. Eventually I was diving in deeper, but still, you know, 12-year-old type stuff. When I really started getting into Interpol was when they were announced to be on the Rock Band 3 set list (early 2010) and was instantly hooked after hearing “PDA” however, still being 14 I couldn’t really buy a ton of music, and I don’t steal it either (don’t ask), so I was only able to buy a few songs at a time, usually when my birthday came around & I got iTunes cards galore. Anyways, since then I’ve really grown to love Interpol, especially “PDA,” “NYC” and “Evil.”

    Sorry about that wall of text, btw.

  28. When I first heard this album, I thought “this is the kind of music I’ve been waiting for, for so long” after years of late nineties radio rock. It was a real breath of fresh air. One of my favourites of all time.

  29. I hate to say it, but when everyone was shitting their pants over this album, I was shitting my pants for A Rush Of Blood To The Head. You know, back when it was okay to like Coldplay. (I still love them, and that album.)

    • “You know how I know you’re gay? You listen to Coldplay”*


    • That was the first and only Coldplay album I owned. Such a strong front half.

      • Parachutes had a great opening with two really solid tunes – Panic and Shiver- but the rest was pretty lackluster. There were moments of sweet ambience here and there but the lyrics were way too elementary and trite. The tracks were pleasant like a collection of easily digestible (and quickly passed) adult contemp candy for background music…but you can only eat so much candy before your stomach hurts. They just weren’t special.

        Then Rush of Blood came and wiped away most of my prejudices. Yes, the lyrics were still on the googoogaga side but the songs had some real original progressions to them and even the minimally constructed Clocks kicked you in the face with it’s yearning and shear power in simplicity; it just SOUNDED so damn good and it was full of energy. The song didn’t even have a proper chorus beyond a “whoooo oooo aaahh” but it didn’t need one. The Scientist, Green Eyes, Warning Sign, Amsterdam…A wider range of emotions and styles were represented on the record, with tons of catchy moments that lasted and even grew in time, as opposed to the disposable ones of the past. A great album arc from the multiple stages of Politik to the end in Amsterdam.

        Then it all went to shit.

    • But Pitchfork thinks Coldplay is OK now, right?

  30. I really was enthralled by this album when it came out- and I never liked PDA- and it seemed that all the rest of their albums sounded like faded versions of PDA. Of course there is still a chunk of the world where you’d probably have to say- you know that album with the song where Rachel is sad about Joey. THAT is what dates this album. We saw them on this tour at the Middle East downstairs in Cambridge, MA and they were playing their snazzily dressed “this is performance art” thing. Carlos had his stupid holster on and there was something about it- instead of playing to the crowd they were playing to a video camera that wasn’t there. The kids ate it all up. Some seeming 17 year old (maybe it was an 18+ show?) was proud to have his vintage Seven and the Ragged Tiger tee- like all these kids were there to say they were there [AND MAYBE WRITE ABOUT IT ON STEREOGUM IN !0 YEARS?? whoa heavy] and even though the band were pretty sharp with their sound, any emotion in the songs seemed to just drain away. Kind of like when someone might go from thinking “Wonderwall” is a good song to thinking “WTF is up with these nonsensical lyrics”. NYC and Untitled still work for me, but I wonder if that is just nostalgia (not that there is anything wrong with that). I do love these anniversary pieces but I think the world would have exploded if you did a Coldplay album. Ha. Please do “Electric Version” next year.

    • I am now convinced Stereogum comments are like an even more over the top Thunderdome, where noncontroversial reminiscing on a post that invites reminiscing get down voted. Well, who is MASTER BLASTER NOW?

  31. I think I got into it a year after it came out. I’m sure I heard the singles, but I had a dumb “I refuse to listen to pop music” phase during High School. I listened to nothing but Classical (Stravinsky, predominately) and Jazz (Miles Davis, predominately) for like two years, then I started driving and falling in love with movies, which completely opened me up to everything else. I don’t even remember how I found the record, because I wasn’t listening to radio or watching MTV (or MTV2, which seemed so much cooler then). It must have been a magazine. I remember being instantly attracted to the cover, with it’s Eggleston in 2002 quality. I just remember driving all night after school, in the winter, in the snow, listening to this album non-stop, taking shitty pictures of Christmas lights with my first digital camera I bought with three checks from my awful job. It got me into Joy Division too, which is nothing to be ashamed of. Hell, reading a Deftones review got me into My Bloody Valentine, which in my middle class suburb was just about the artiest thing I’d ever encountered. I still think this album is good. It’s one of the few actual CDs I bought post mp3, and any time I’m back at my parents apartment I end up playing it in their mp3-incompatible cars. Who cares, right? It’s a great album, and I’ve never listened to more than 30 seconds of anything else they’ve done. That’s not fair, but it also keeps me loving this album.

  32. This is one of my personal favorite albums of all time and i’ve listened to it countless hours over the last ten years. It got me to thinking about my top-5 songs and after grueling deliberation, here they are…

    1.Leif Erickson
    2. NYC
    3. Untitled
    4. Stella Was A Diver And She Was Always Down
    5. PDA

  33. It is always interesting to me which bands sort of fade out and which ones just seem to grow and get better.

    This album is great and the band appeared fully formed. And yet they never seemed to be able to follow it up exactly.

    I don’t know if its because this style of music is so hard to really progress with? Even Joy Division didn’t last very long..

    Maybe Goble is onto something when he writes that this album is a “soundtrack”. Banks vocals are often in the background, almost ambient in comparison to their more aggressive, even more poppy followups. Or maybe some of the other commemorators have a point when they say banks voice was limited to begin with. Anyone else have any theories about why they sort of petered out, and yet started so strong? Too much early success?

    Anyway, I’m glad they made this really great album!

  34. You know why Joy Division didn’t last very long right?

    Anyways, I don’t believe Interpol or other bands intend to fulfill anyone’s expectations other than their own. Interpol has been around for a good while now and have made four albums in a duration of 10 years. While some fans weren’t happy with their musical direction, others are intrigued with their work. I recommend looking at each of their albums as a whole. They have always stated they have concentrated more on making an album as a whole.

  35. Love this album, one of the few that stays in my car.

    I was so so happy when they played “Hands Away” at a 2010 concert. Slightly ruined by the guy in front of my yelling for “No I in Threesome.”

  36. really really really want to say: If you still like Interpol and haven’t joined in the anti-Interpol wave that crested in 2007 and has leveled off since then, you might really like their self-titled from 2010. It’s not BETTER than this debut, but it’s good if you are still open to what the band does.

  37. I remember when I first heard “Obstacle 1″ on TV, I wanted to hear it over and over again but couldn’t because my internet at home wasn’t working. So I went to an internet cafe and stayed there for hours playing that song nearly over 40 times. Other great tracks from that album for me would have to be “Untitled”, “PDA” and “Roland”

  38. I decided I had to become friend with this guy who became the singer of our band The Livingstones I Presume when I heard him saying “typically, this is the kind of song i love” when “Say Hello To The Angels” was playing…

  39. STELLA!! I’m sure there’s a few people here who went to the Radiohead show when this album came out at Alpine Valley, and the radio station there gave out a sampler cd before we left the show with the first single on it…i still remember listening to that on the way home. i knew the song but didn’t have the album yet or anything. It also had Dandies ‘We Used to be Friends’ , OH and uhh Molly’s Chambers haha, the 3 good songs on it. that was amazing concert btw…the best.

  40. They may not have put out a great record for several years, but Interpol were still a blazing live band when I saw them a couple years ago.

  41. I don’t know what all the fuss is about. This album is so 2002.

  42. This album goes perfect with being young, hopeful, and sad for no reason. “NYC” is a microcosm for all of those feelings and has definitely played on my earphones while I look out the on the highway more than a few times.

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