Chords for Interpol - Turn on the Bright Lights XV

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_ _ The first song on the record was written _ precisely [Bbm] to begin our shows. _ _ _ _
_ _ _ [Cm] And then it grew into becoming a song proper.
But I would say [Bb] the title itself being Untitled is because it was [Bbm] just called the intro for us.
It's what we did when we played these clubs in New York.
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_ _ _ _ _ [Bb] And it was something that we felt like it was good to do.
Kind of like just a palate cleanser [Cm] announcing.
The riff in Untitled [Bb] is sort of really signature Daniel.
Kind of sums up a lot of what he _ can do with a guitar as far as generating an atmosphere and a [Cm] mood with real minimalism.
[Bb] It's not our big banger that opens that record.
But it [Bbm] is sort of an introductory piece of music.
And then you drop like a [F] banger. _
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_ An album [Am] sometimes won't translate [F] to a set list.
For some [Am] reason, I don't know if the [F] idea that we're playing [Am] this album in its entirety and that's the way it is.
[F] But it flows pretty well [Am] live.
_ Singing only [F] love can go [Am] on.
_ And [F] we can't copy our [Am] lives.
We're playing [F] that nothing else will [Am] change.
_ It's [F] a book.
Beginning, [Am] middle, and end.
And what's the best way of pacing it along [F] and telling the story.
So I think [Am] it was always about that.
And I think that it's still always about that.
One song that's kind of like setting the tone.
A bit more of an ambient one.
And one that's just sort of [F] a response to that.
I'm not the chattiest guy [Am] on stage.
But it is one of these instances where I've really had to think about [D] like_
I don't know if I would need that.
I think it's almost sort of like just hit play.
Play the record.
Keep it _ moving. _
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Carlos had the joke when we were writing Bright Lights that we could call the album Celebrated Basslines of the Future.
And I think that's such a hilarious thing to suggest.
But also very apropos.
These basslines are crazy good. _ _ _
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_ I _ _ know there's such [Am] a place. _ _ _ _ _ _
_ _ _ You can't realize it's lonely. _ _ _ _ _ _
_ Little little _ things.
Which I relate.
But I see no harm. _ _
_ _ Come away.
Come [Dm] away. _
It's [Am] over. _ _ _
One, two, one, two, three.
You know [F] what I really liked a lot is the keyboard playing in Say Hello to the Angels. _
[Bb] Hearing it in isolation, [F] I was like, what?
Is Carlos writing his own material right now?
Like is [Am] he doing renditions?
[Bb] I couldn't [Dm] understand.
It's [Am] kind of weird because we've always kept moving [Bb] forward.
Never took a step [F] back.
You know, with the exit of Carlos and everything, [Dm] we [Am] haven't stopped.
The first show on [Bb] the back of these Bright Lights shows, [Dm] we'd been writing new material like the week prior in New York.
And I was really thinking about [D] the new songs and directions.
So when we started playing the show, I was actually a little bit nervous.
Which felt healthy and good because I don't get [F] nervous on [D] stage really.
I was like, oh, look at you.
You're [Am] feeling a little vulnerable, a little nervous.
That's so, [Em] look at that.
That's cute.
_ [C] You could see in [G] people's [Bm] faces right off the bat [E] that [Am] they were expecting something and you hoped to not disappoint [D] them.
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[Bm] I love [Em] the new.
It's just [A] the composition.
That for me was [D] like a high [E] point.
Just not really [C] worrying about conventional songwriting [Bm] and just doing whatever the [Em] fuck we wanted and then [Am] making it work.
Really proud of that song.
_ [D] _ _ [G] Through Bright Lights in its [C] entirety, I can revisit [B] [G] this [E] record and play it [A] better.
_ Not that [Dm] anybody will notice [Bm] really, but I [Am] will.
I don't strut, lift, [B] react, or be talky on [E] me.
Settle down, it [B] takes time.
And it's really important [F] that the younger me [E] is communicating [B] with the present me going, [E] yes, that's how we should have done [Bb] it.
[Bm] I'm glad that we could finally do it that way.
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I remember trying to play a rehearsal of the new.
This girl that I was seeing at the time was just sort of like not, she didn't have the reaction that I was having to it.
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[B] _ _ _ _ _ _ _ [G]
[B] On this in particular tour, it's just something I didn't really know what it would be like.
I didn't put too much stock, hopes, [G] or anything like this.
It just seemed like, [B] okay, cool.
It's like a measured way of being like, this sounds like a fun thing to do.
Also, we live in a weird age for many reasons, but certainly just on the musical front,
the way people discover music has changed greatly since the release of this record.
And you never know what's going to age well.
Or maybe you could say this has aged well, but you never know if it's going to reach people who were too young when this came out in the first place.
To be on that side where it seems [Gb] like you see [A] kids who are [B] still teenagers and then [G] adults who are [Gb]
[A] well in [G] their 40s and well above,
it's like something else, and it's pretty rare.
[Gb] I don't think [A] that happens all the time.
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[Gbm] Sometimes [D] I wake up and I'm like, I don't want to go play [G] Bright Lights.
It's perfectly natural for [F] me not to want to.
But then as soon as you hear the crowd, even before we get [C] on stage, that [F] changes.
That's like, no, I will do it for you five times [C] tonight if [F] you so desire.
Because it's not for us.
We wouldn't be doing it.
[C] It's for people who want to come and see it, and [F] they don't need me being an old curmudgeon about it.
Very few things in life that human beings can share like this, you know, and music is one of them.
And I feel very privileged as an artist, as a musician.
I really enjoyed this.
It was very special. _
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