28 Songs, 2 Hours 8 Minutes

EDITORS’ NOTES

So influential as to have become almost invisible in the intervening years, 2002’s Turn on the Bright Lights practically minted American stadium indie rock. Interpol’s concrete-grey post-punk at first feels dominated by Paul Banks’ hectoring baritone, but shafts of light continually cut through. The stately “NYC” prefigures The National’s introspective triumphs, the hard-charging “PDA” is a seed for The Killers and Arcade Fire to water, and “Untitled” is the song that dozens of would-be U2s are still trying to write.

EDITORS’ NOTES

So influential as to have become almost invisible in the intervening years, 2002’s Turn on the Bright Lights practically minted American stadium indie rock. Interpol’s concrete-grey post-punk at first feels dominated by Paul Banks’ hectoring baritone, but shafts of light continually cut through. The stately “NYC” prefigures The National’s introspective triumphs, the hard-charging “PDA” is a seed for The Killers and Arcade Fire to water, and “Untitled” is the song that dozens of would-be U2s are still trying to write.

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