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It was the month after 9/11 when Interpol left Manhattan to record Turn on the Bright Lights in Connecticut. In a way, Bridgeport encapsulated the metropolitan mourning that ensued after the Twin Towers fell. 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.
Turn on the Bright Lights is not focused on sending a specifc message or communicating a certain idea; it wants to convey something inexplicable — a feeling or a mood that’s just there, like an apparition. It is the musical embodiment of the shadow of darkness hanging over all of our lives, and the perpetual kind of grief of living. While the world outside us constantly falls apart, we are walking along the paths of...
