![]() ![]() The Strokes had just released Is This It, and soon the Yeah Yeah Yeahs would unleash Fever to Tell. Turn on the Bright Lights seems to reside in this gloomy landscape. The city had caved into poverty with the rise of suburbanization it already had a shadow of darkness hanging over it, a perpetual kind of grief. In a way, Bridgeport encapsulated the metropolitan mourning that ensued after the Twin Towers fell. ![]() I didn’t want to be anywhere near a sparrow, or a squirrel, or a pigeon, because I just wanted to be consumed by the asphalt-jungle aspect of New York.” “I was so urban-centric at that time,” Dengler continued. The rhythm is unhurried, the guitars fuzzy and the vocals detached and lazy. On it, they float with a sense of electric lethargy, reminiscent of the shoegaze instrumentals of Sonic Youth or Drop Nineteens. It consisted of only three tracks: “PDA,” “NYC” and “Specialist,” but each song was quite long, the closer nearing seven minutes. They were conceived in 1998 and put out one self-titled EP before their debut. They’d met at NYU and were less concerned with musicianship, instead prioritizing “sensibilities about musical tastes and aesthetics,” as Kessler put it. ![]() Interpol consisted of Dengler, Paul Banks on vocals and rhythm guitar, Daniel Kessler on lead guitar and backing vocals and Sam Fogarino on drums. ![]()
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