Though 2002 was the year following the most devastating terrorist attack on U.S. soil, very few of the memorable albums from that year directly address 9/11.
Of the albums I’ve featured so far, only Eminem’s The Eminem Show tackles the topic. Wilco’s Yankee Hotel Foxtrot was an eerily appropriate release, but it was recorded before the attacks.
My only exposure to Sigur Ros thus far has been in Wes Anderson’s The Life Aquatic with Steve Zissou. The song ‘Starálfur’ scored the film’s climactic scene, in which the crew of the Belafonte encounters the mythical jaguar shark.
For a scene that cathartic and sad, yet hopeful, the ethereal warbling of an Icelandic art rock band worked perfectly. Outside of that context, I’m not so sure.
The Flaming Lips’ Yoshimi Battles the Pink Robots shows up on most critics’ lists of the best albums of 2002. I can’t remember if I bought it at the time and didn’t get into it, or if I just intended to buy it and never did. At any rate, it’s still unknown to me.
Yoshimi is a loose concept album about the titular battle, though only a few songs directly tie into that story. The overall theme is making the most of life in the face of our own mortality. Fun stuff!
Unlike the other albums I’ve featured this week, I’m very familiar with today’s artist, if not the specific tracks on the record.
Norah Jones rocketed to stardom following the release of this jazz-folk record, which sold more than 10 million copies in the U.S. and 26 million worldwide. Come Away With Me earned eight Grammys and showed up on plenty of critics’ year-end lists (even as others dismissed the album as sleepy and bland).
Interpol is a post-punk alternative band out of New York City that has been off my radar completely. They are often compared to Joy Division, but I have to admit I’m not very familiar with Joy Division either.
2002’s Turn On the Bright Lights is Interpol’s debut album and remains their best received, both commercially and critically.
Meet Me In Montauk 