Turn On The Bright Lights

Only thing more surprising than the fact that this wasn't on the original list is the fact that it took 2 years for somebody to submit it onto the user list. Classic. One of the best post-punk albums of the 2000s.

The grotesque sound of the guitars and the slight distortion of the vocals makes Interpol very recognizable. And I quite like it

Really solid album that definitely had its influence felt in the early 21st century so seems pretty appropriate to suggest it for this list. I probably listened to this around when it was released because it is the kind of thing one of my best friends at the time enjoyed. I enjoyed it more today - I think all this album listening is expanding my horizons.

Turn On the Bright Lights is one of my favorite indie rock albums. The songs like "PDA", "NYC" and "Stella Was a Diver and She Was Always Down" do not have an uplifting atmosphere and sound like Ian Curtis has risen from the dead. Mostly because the usage of the same melodic bass guitar play (Peter Hook) as Joy Division.

Another album I’m convinced was on the original list, and can’t believe has taken so long to pop up on the user list. One of the best from 00’s indie era. Already in my frequent rotation.

If The Strokes represent the bright, too-cool-to-care side of the early aughts' New York indie culture, then Interpol is the dimly lit backroom hang that is afraid to admit it cares a little too much. There's such a darkness to this album woven amongst the shimmering guitar and pounding drums, the hopeful instrumentals undercut by Paul Banks' neurotic, anxious lyricism. Interpol wasn't the only band riding an early 2000s post-punk revival, but they were one of the few to fuse the genre with contemporary indie in a way that's still striking and fresh nearly 25 years on. Such incredible musicianship and execution for a debut LP – the band owes as much to Carlos Dengler's twisting bass as the angular guitar parts for making these songs what they are (PDA is essentially guitar accents on top of an incredible bass line), and their discography took a clear hit when he departed. The band had already notched what they needed to be all-timers with this one, though. This LP bottles the uncertainty of post-9/11 New York into song, a panic attack-like sonic burst of anxiety in musical form. It may not have been the band's intention to capture that scene on track (asked about the 200 couches lyric, Banks says "I don’t know, man. I guess some sort of vision of a big Brooklyn warehouse rave scene, maybe"), but the ultimate product still reflects the time and place in incredibly listenable form. Great add and an absolute crime for this not to be on the official 1001 this many editions on.

American Radiohead? Manhattan (Jesus &) Mary Chain? New York New Order? Simultaneously very Big Apple and very Great British, and very very good. Maybe just a wee bit too worthy and over-earnest, but I don't mind bands who take themselves so seriously.

I don't find this album to be the all-timer that many seem to, but I'd be lying if I said it wasn't good at all. Plenty to love here, and anything that feels tired and/or overdone probably has this album to thank for that. Don't adore it, but it deserves its notoriety.

Interpol was one band that I never really gave the proper time of day to listen to. Thankfully someone added this album and after a few listens I found this to be exactly the kind of alt indie rock that has become my usual listen. Although from NY they have a British sound and the mix of distorted instrumentals was like a nice blend of nine inch nails, joy division and radiohead. Three solid bands to take after. Would listen again and check out more of their albums. Solid stuff. 7.8/10

I’m slightly losing my mind with this somehow not being in the book. I feel like I even wrote my review already. Anyways, as much as this is a modern classic I’ve always felt that this album is frontloaded. The first ~4 tracks I wholeheartedly love, then towards the latter half I have less enthusiasm. Still good songs, but the disparity keeps me from giving this full marks.

9/10 super fun! really liked this!

Great pick, should be in the original list.

I hope everyone that’s given this a 5 star gives the chameleons a 5 star cuz they’re very similar really. And that’s exactly what I’m gonna do! (Tho I haven’t got the chameleons yet) Just found out Paul Banks was born in Clacton (UK) the constituency that sadly voted Nigel Farage as MP. Nothing to do with Paul (he left the UK at 3 according to wikipedia) but I just found it mildly interesting. This is the only back loaded album where none of the singles are on the back half Stella/ Roland/ The New/ Leif Erikson are the best songs by a country mile, though there’s really no bad songs. Stella, New and Leif are just all so beautiful and Roland is this swirling ball of energy which puts the punk in post punk. Theres also Obstacle 2 on the back half, probably one of the albums weaker tracks but also quite accessible and great dynamics.

This is one of those "modern classics" from the early noughts, casting a long shadow over everything that followed in the overall indie-rock / post-punk categories. The guitars glimmer, the drums drive forward with confidence, yet everything feels shadowed by a persistent emotional undercurrent—largely shaped by Paul Banks’ hieratic voice and jittery, inward-looking writing. The man does not merely channel Ian Curtis's neurotic ghost -- he gives his own unsettled twist to that sort of vocal performance, gracefully straddling the line between genuine worry and urban cool-cat demeanor, thereby emphasizing the cinematic values of the music. The album lands as a strangely accurate snapshot of post-September 11 attacks New York: overstimulated, uncertain, and searching for release. What’s remarkable is how vividly the record refers to a specific cultural moment without necessarily intending to. There’s a restless, almost suffocating energy running through it, like a city trying to steady itself and failing. Musically, the band arrives fully formed in a way most debuts can’t touch. The interplay is sharp and deliberate, but never rigid. Carlos Dengler's basslines don’t just support the songs, they lead them, curling and pushing against the guitar work in ways that give highlights such as “PDA” their identity. The guitar themselves feel relentless in their drive on the fast midtempo songs comprised in the vast majority of the tracklist ("Obstacle 1 and 2", "Stella Was A Driver...", "Say Hello To The Angels", closer "Leif Erickson", probably winking at the first European explorer who discovered Manhattan's shores...). In other hands, this sort of relentless drive could give out a very one-note result. But here, said result feels highly dynamic and yet also haunted, oddly enough. This here is how *Turn On The Bright Lights* conveys the sharp angles of a monolith dedicated to city hedonism, lighted by urban neons outlining what stays in the shadows of the soul. Sexy and somber all at once. Complementing this monolithic impression is the organization of the tracklist on the first side, where Interpol favor the slow "ambient" compositions "Untitled" and "NYC" for the pivotal first and third slots -- instead of keeping those slower songs for the second side of the record. This is a near-genius move, with those two contemplative cuts, close to shoegaze -- surely highlights in their own right -- cleansing the palate before the more hectic tracks. It takes a unique understanding of rock album dynamics to pull this feat off. Though Interpol were part of a broader post-punk resurgence at the time, few of their peers managed to blend that revivalist edge with contemporary indie sensibilities so seamlessly. Decades later, the record still feels immediate rather than archival—its tension hasn’t dulled, and its atmosphere hasn’t thinned. Even if Interpol had never released another note, this album alone would’ve secured their legacy. It’s a complete statement: cohesive, evocative, and executed with startling precision. The fact that it continues to resonate so strongly makes its absence from lists like 1001 Albums You Must Hear Before You Die all the more baffling. So let's gape in awe at the urban lights together, and dream along this quite perfect tracklist. New York City is waiting for us to explore its nooks and crannies under the twilight. The night is still young, and full of promises. 4.5/5 for the purposes of this list dedicated to essential albums, rounded up to 5. 9.5/10 for more general purposes (5 + 4.5) ---- Number of albums from the original list I find relevant enough to be mandatory listens: 465 Albums from the original list I *might* include in mine later on: 288 Albums from the original list I won't include in mine: 336 ---- Number of albums from the users list I find relevant enough to be mandatory listens: 86 (including this one) Albums from the users list I *might* select for mine later on: 108 Albums from the users list I won't select for mine: 219 ---- Émile, j'ai vu ta dernière réponse. J'essaie de trouver le temps de te laisser la mienne dans les jours qui viennent. Désolé, ça fait longtemps que je te dis ça, mais la situation est un peu compliquée par chez moi en ce moment... Rien de grave, mais je trouve pas beaucoup de temps pour moi. Porte-toi bien

Pretty good. I remember this one 3 4

Another classic

I really like this. Intense with great energy. 4 stars.

Rating: 7/10 Best songs: Obstacle 1, Hands away, Obstacle 2

One loves the dark, brooding intensity, which one has always thought of as essentially arty and post-post-punk, plus stylish and sharp, tight and taut. The first few cuts set the edgy, moody tone and fully engage, and while the rest could be accused of sameyness or excessively templated, it's also strikingly consistent and sustained – they plow a fairly narrow furrow, but plow it well and deeply. Banks sounds like Ian Curtis with more testosterone and confidence and presence (NB: his recent work with Tycho intrigues). They win back guitar fans with "Say Hello" Overall" which combines disco-esque drive and a touch of heavy metal gudge-gudge. This is better than the Strokes and Franz Ferdinand and the White Stripes. Not as good (in the end) as The National (but very few are). Thanks recommender -- this is a most worthy choice and certainly merits a slot on list proper, particularly if it replaces any of the White Stripes record or any of Blur's and maybe The Coral and certainly the Vines.

Schysst album med flera fina låtar. Aldrig hört förut. Får ge det lite fler lyssningar.

If you like Interpol you’ll love this. It’s Interpol!

Absolutely solid post-punk rock, but somehow fails to quite reach my heart. Maybe it's that New York thing, the complete assurance that one is in and of the center of the world. Which doesn't explain how I can love Lou Reed so much, but hey I contain multitudes etc.

When you order The Killers' Hot Fuss album from Temu.

It's indie rock from 2001!

I know the knock on these dudes is that they sound like Joy Division, but like…if you discount the vocal style, this tracks pretty close to a Sonic Youth record in a lot of spots.

Quite like Interpol and they are very distinctive but a bit short of stand out songs on this album.

Indie rock, post-punk revival. Ni fu ni fa.

They were the leaders of the '00s post-punk revival, so it should have been in the book. It has some great songs, but overall it's too samey for an entire album.

It was fine

Yeah, it’s good, I guess, but it’s also hella boring. Boring as fuck. The vocals aren’t supposed to lull me into a deep sleep. I don’t think? The production is spectacular, the instrumentation is fairly decent as well. I have no big complaints except that it’s just a snooze-fest. The formula was so close to perfection, but they botched it. Whoops, that happens sometimes. Oh well, a lot of people really like it, so they got that going for them. 3/5

A pretty even mixing of musical things I really don't like and certain elements I really do usually enjoy. Weird listening experience for me.

there are three lights

I’m sure I would have been a bigger fan if I was younger when this first came out. Always worth a listen.

Eurm, encore du indie? Vous êtes inlassable guys, je vois pas le thrill, tout semble patauger dans le même bouillon, genre le drum/bass/rythm guitar ont de la misère à se distinguer les uns les autres, c’est souvent ce qui arrive avec ce genre d’indie rock, pis ce que j’ai le plus de misère à apprécier. Pour le reste, c’est bien, mais je m’en roule pas à terre disons

Well this definitely is an album that exists. Surprised that it's not on the original list because it is very much the generic "post punk" vaguely emo sort of Brit-sounding crap that is totally fine and that the OG author totally creams his jeans over.

Generic indie music on first listen. Nothing very exciting. Did sound a bit like Josh Homme on the vocals on the last track.

Can someone tell me the difference between Muse, Keane, and Interpol?

Generic indie again

Turn On The Bright Lights starts really well with Untitled, which I knew from TV, the rest is the sort of indie stuff I never got into or enjoyed but isn't among the worst efforts of the genre. Solid 2.

I can't say I get it... it's certainly not bad, but really nothing to note either. 4/10