"Not a single weak song on it. Not a single instrument out of place. Not a single production mistake. Not a single line that Tweedy doesn't inflect like if he really cared about his art. It's complex at every level, but it doesn't feel challenging because the music invites you to appreciate it lik...""Not a single weak song on it. Not a single instrument out of place. Not a single production mistake. Not a single line that Tweedy doesn't inflect like if he really cared about his art. It's complex at every level, but it doesn't feel challenging because the music invites you to appreciate it like if it was the dumbest pop music ever. Yankee Hotel Foxtrot channels every possible mood or emotion that contemporary americana can deliver and enhances them through the new sonic palette that the new millenium (and Tweedy's insatiable perfectionism) had to offer. Amazing work."[+]Reply
"In the earliest days of the 21st century, New York City was not only a dominant fulcrum for the arts, it also stood as a mecca for some of the best up-and-coming indie rock artists of the era. Bands such as The Strokes, LCD Soundsystem and the Yeah Yeah Yeahs. If these wonderful acts were assembl...""In the earliest days of the 21st century, New York City was not only a dominant fulcrum for the arts, it also stood as a mecca for some of the best up-and-coming indie rock artists of the era. Bands such as The Strokes, LCD Soundsystem and the Yeah Yeah Yeahs. If these wonderful acts were assembled at a legendary NYC party, deep in the corner, pensively camouflaging would be Interpol. Always tastefully suited and donning black, Interpol were surely the most brooding and moody of these groups and their music brilliantly reflected the sentiment of a city that they loved but was holding them prisoner. Their crowning achievement was 2002's Turn on the Bright Lights, an introspective compendium of social alienation and the poetic juxtaposition of perception and reality in the city they called home.
Lead singer Paul Banks pulls no punches on third track NYC, claiming, "The subway is a porno, The pavements they are a mess, I know you've supported me for a long time, Somehow I'm not impressed". Lead guitarist Daniel Kessler vigorously drives fifth track Say Hello to the Angels. The breakneck pace is notably apt when uncovering the song's inspiration, unfailing sexual yearning during a rocky relationship. Fan favorite Obstacle 1 is often noted as an anthem for the turn-of-the-century indie revival. It was seemingly influenced by the death of a model that willingly pierced her own throat. The relevance to the narrator is still up for interpretation but lines such as, "But it's different now that I'm poor and aging, I'll never see this face again, And you go stabbing yourself in the neck," imply a distant, one-sided affinity. The darkness only purveys further from there. Playfully titled track Stella Was a Diver and She Was Always Down describes another flesh-centric liaison gone awry due to the title bearer's personal instability. Sam Fogarino's burst-guided drumming creates the sensation that the song itself is slowly descending deeper and deeper into the Hudson. Banks croons, "Bottom of the ocean she dwells, bottom of the ocean she dwells", as he too drifts into the abyss.
The lion's share of the band's attention appeared to revolve around their status as dead ringers for legendary post-punk foursome Joy Division. Interpol, while respecting Joy Division's legacy, dismissed the strategic intention of such comparisons, not content to live in another's shadow or (Shadowplay). While The Strokes and LCD Soundsystem concocted hits that were not out of place at Columbia University parties and the sprawling New York City club scene, Turn on the Bright Lights' target was an entirely different audience. A sector of listeners that felt petrified at the notion of being present at a social soiree or those who desired whole-hearted love in favor of booze-soaked escapades. It's a shame that these days that Interpol are perceived to have lost their labels as critical darlings, lost to a new generation sporting deaf ears on which the band's music falls on. Shamefully, they often get lost in the shuffle when commenting about the impact of early 2000's indie rock, swiftly swept to the side by more thematically positive acts that potentially have less provocative things to say. How appropriate of the band to be caught up in such a woebegone story. Hindsight suggests that Interpol just may have been the finest act to grace that era. They certainly released its most polished, brilliantly arranged artifact. You can find it gracing the shelves of a Greenwich Village antique shop.
"I had seven faces
Thought I knew which one to wear
But I'm sick of spending these lonely nights
Training myself not to care"
-NYC
Standout Tracks:
1. Obstacle 1
2. Leif Erikson
3. Stella Was a Diver and She Was Always Down
97.8"[+]Reply
"i think it takes a very specific kind of person to like coldplay and appreciate them as a serious band. i veiw their good songs as paintings.i think that if one has any backround in music theory and studys these songs you find that they obviously knew what they were doing most songs start at the ...""i think it takes a very specific kind of person to like coldplay and appreciate them as a serious band. i veiw their good songs as paintings.i think that if one has any backround in music theory and studys these songs you find that they obviously knew what they were doing most songs start at the root especially today but alot of their songs dont like the scientist, the vocals start at the third. their song structure is a completely different thing they use a song as a kind of environment when the structure is changed the environment changes look at 42 or death and all his friends or fix you or even green eyes when chris changes his vocal line the whole song environment shifts from a mellow field of simple statements to a whole cosmos of need and vulnerability and honesty thats what i really appreciate about coldplay is their honesty they arent afraid to be vulnerable"[+]Reply
"Want to say thank you to all the BEA folks out there; if it wasn't for all of you, I never would have discovered this amazing record. It instantly became one of my all time favorites."Reply
"Maybe "Sea Change" connected with me at the perfect time or not, but this is one of the best albums about loss, helplessness, and trying to move on, but being not truly able to move forward yet. Over years of weekly listening, I've found that once you move past Beck's own story about the creation...""Maybe "Sea Change" connected with me at the perfect time or not, but this is one of the best albums about loss, helplessness, and trying to move on, but being not truly able to move forward yet. Over years of weekly listening, I've found that once you move past Beck's own story about the creation of this album, it has many pieces that are applicable to thew struggle of Depression day in and day out. Musically, this record is top notch: Nigel Godrich's production really brought out some great ideas from Beck, his father, and the band. From the Shepard Scale in "Lonesome Tears" and intricate guitar weave on "Already Dead" to the lush swell on "Little One", this is an album that demands repeated listening to understand the scope of thought that went into each piece and how they fit into the overall scheme of the album. The synth textures and space noises on "Golden Age" can sound like a car accelerating off into the night and the deadpan vocals are forlorn and depleted just like the narrator would be in that situation. There's an aching honesty that permeates the record until you feel swallowed up into the dark atmosphere. Maybe that is why I think "Little One" is so effectively placed. No matter the listener, start with "Golden Age", it's Beck's greatest song."[+]Reply
"If you ask me, this is their best. It's less focused on being a "songs" album and is more focused on being an experience. The first couple (or five) times you hear it, it's hard to appreciate. The tracks are long and kind of muddle together after awhile. But after more listens, each piano note an...""If you ask me, this is their best. It's less focused on being a "songs" album and is more focused on being an experience. The first couple (or five) times you hear it, it's hard to appreciate. The tracks are long and kind of muddle together after awhile. But after more listens, each piano note and drum beat starts to stand out. It's an album that's completely devoid of any context or background, one that it's possible to step into and experience anew each time. The perfect album for falling asleep"[+]Reply
""By the Way" is, undeniably, a stellar album, representing yet another tremendous offering from the Red Hot Chili Peppers. It easily equates its predecessor, "Californication", in terms of its accessibility and the consistency with which it displays quality musicianship and meaningful lyrics."Reply
"This album is an experience from beginning to end and the artist always finds a way to challenge us with the soundscapes that they create. Compared to the duos other work this is slightly darker in tone and creates a lot more tension in the listener. They do this via the use of a monotone sound t...""This album is an experience from beginning to end and the artist always finds a way to challenge us with the soundscapes that they create. Compared to the duos other work this is slightly darker in tone and creates a lot more tension in the listener. They do this via the use of a monotone sound that gets drilled into your head and then experimenting with multiple layers of instrumentation on top of this creating a rich and glorious environment for us to explore. The music flows fantastically, making the whole record feel so cohesive as one song blends into the next creating an engulfing feeling. They also have this wonderful effect on this album where they create a relaxing vibe with a slight hint of something unordinary or alien making us always on the edge of our seats as they are masters of building suspense. This is exemplified on Sunshine Recorder and The Devil Is In The Details. However, this record is a bloated release with it clocking in at 66 minutes which does drag a little. This is due to the couple of filler tracks and some other moments that feel unnecessary that could reduce the run time. Also, I can see the argument for it being a bit stale and boring with some tracks feeling very slow even though I strongly disagree with this point. Overall, this is another stunning performance by this duo who have created one of the most unique sounds in music and this album, alongside MHTRTC, is them at their peak. "[+]Reply