In that sense, I would submit that Turn on the Bright Lights is part traditional indie rock (Merge, Matador, Touch and Go, etc.), part late-80s college rock/neo-psychedelia, and part NYC 2002 — that is, the retro-rock fervor (whether it be the VU/Lou-Reed-ness of the Strokes or the equally, if not more, fascinating "post-punk" sounds of Radio 4, the Ex Models, or Kill Rock Stars' The Seconds) that has gripped the recent indie/punk scene in the greater New York City area, but especially in Brooklyn. While the first element is pretty straightforward (after all, they are on Matador Records), the second element might be the one in most need of clarification. More precisely, I think Turn on the Bright Lights manifests noticeable traces of mid- to late-80s British rock, in the vein of the Church (though Aussie), Echo and the Bunnymen, the Psychedelic Furs, or even The Mission (U.K.). I find this to be especially so with respect to the way the production (and effects) on the lead guitar distances it from the rest of the swirling, dense instrumentation. Consider the latter half of PDA (download MP3 here and a video here), the most rocking song on the album: the protracted bridge that unfolds three-and-a-half minutes into the song could easily have appeared on one of the tracks off The Church's Starfish album. A similar sound is achieved in the heavily reverbed guitar in Obstacle 2 and Hands Away, as well as in the coupling of the wicked gothic melody with the reverbed guitar solo at the climax of Roland. As for what I've called the NYC 2002 sound, both the general attitude and style of Interpol can safely categroize the band in the same rock movement as the aforementioned Ex Models, Seconds, and Strokes (among many others) — the champions of the new indie rock sound.
All of this commotion about comparisons to Joy Division is simply to say that critics who are shallow enough to disparage Interpol as a Joy Division clone are misinformed and their accusations are unwarranted. While I would wholeheartedly welcome a Joy Division clone (considering they are one of my favorite rock bands of all-time), Interpol is not that band. Though traces of times past are evident in their work, Interpol quite simply offers some of the most innovative and compelling music of today.
Article comments
1 - Russell Fischer
The 80's guitar-pop comparison is certainly accurate, and I hear a lot more Television than Joy Division in Interpol. But it's not nearly as fashionable to talk about Television. Not that it matters - those comparisons are a sales pitch and a crutch. The second time I'd heard the disc all of that stuff was out the window.
2 - Sabo
I'd like to believe that talking about Television was not as fashionable, but given the constant (misguided?) comparisons of the Strokes guitar style to Television, I might disagree. I would agree, however, that any and all comparisons fly out the window once you listen to an album a few times.
I'm glad that someone sees the 80s guitar pop influence though.