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.