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“For a short period of time, it felt like, ‘Let’s just shake hands and move on. “It was weird in the band, too,” said drummer Sam Fogarino. Though the album was written before the 9/11 terrorist attacks, the atrocity happened in their neghbourhood: bassist Carlos Dengler had witnessed one of the towers collapse from his rooftop. Hence the reviews at the time, though overwhelmingly positive, were all dutifully qualified with references to the various bands that aspects of Interpol’s sound resembled: most obviously, of course, Joy Division, but also Echo And The Bunnymen, The Chameleons, Television and Wire, among many others.
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The music industry – operating at a time of peak P2P paranoia – was circling around a new wave of NY talent that included LCD Soundsystem, Walkmen, the Rapture, the Yeah Yeah Yeahs, TV On The Radio and others, moulding the scene into either a ‘post-rock revival’ or a ‘new rock revolution’.īelonging to this scene undoubtedly helped Interpol get noticed New York’s musical zeitgeist was distinctly 80s-leaning and Anglophile and the fact that the band’s sound was guilty on both counts proved a double-edged sword.
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Turn On The Bright Lights came out in August 2002 when the hype surrounding the turn-of-the-millennium NYC music scene was in full swing, thanks to the insouciant garage-rock of the Strokes’ Is This It? having swept all before it the previous year. It was released at a culturally important time for New York
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