5.15.2010

2-19) The National


The best word I can use to describe The National is "elegant". However, they are also one of the best examples of the current state of indie rock music. Borrowing heavily from some 80's post-punk bands (most obviously from the band Echo and the Bunnymen), and mixing this with a few post-rock guitar elements and a highly literate approach to songwriting that takes several listens to sink in, The National have created some of the most gorgeous music that I've ever heard, and three of my favorite rock albums of all time.

Originally hailing from Cincinnati, Ohio (here's a local band for you, Beth and Thomas), The National eventually moved to Brooklyn to become a part of the scene that has taken over the indie rock world over the past few years (The Animal Collective are a part of this group). Consisting of a pair of a pair of brothers, including Bryce and Aaron Dessner and Scott and Bryan Devendorf, along with vocalist Matt Berninger, The National are all about the songwriting. Berninger, who writes the lyrics, has a tendency to write repetitive phrases that on the surface can sometimes appear to be non-sensical, but with repeated listenings reveal themselves to be poignant metaphors for young men and women first entering adulthood, which is of course the part of life of which all of us are currently living through.

The National have very frequently been described as a "grower", meaning that while their music might not seem that special upon the initial listen, as the message and the instrumentation sinks in after time, the albums become better and better. I can firmly attest to this, as I wasn't very impressed with any of the albums when I first heard them, but by my second or third listen, I had fallen in love with them. This could possibly make this an unsuccessful pick on my part, as a week might not be enough time to have the appreciation for these albums that they deserve, but I still feel that this band is an integral part of our current musical world, and everyone should be exposed to them even for only a short time. All I ask, as with every pick, is that everyone gives them a chance to grow on them.


The Albums:
1.) Alligator (2005)
2.) Boxer (2007)
3.) High Violet (2010) [my current album of the year]

12 comments:

  1. I am going to apologize ahead of time, we have company this week and I will probably not post anything until Sunday night, so I have time to listen to the albums again.

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  2. You’re probably not going to like this comparison, but The National remind me an awful lot like Matchbox 20 and Third Eye Blind. Not the vocals, but the tempo and how the story is told. The Third Eye Blind reference was due to there occasional sexual lyrics. I actually really liked Rob Thomas in Yourself or Someone Like You, so Alligators was quite pleasant for me. I see what David meant by needing a few listens to really let it set in. The first time through, each song ran into the next and there weren’t many standouts. The opening track is one of my favorites. There isn’t anything special with the instruments, but the analogy of day dreaming was intriguing and held my interest despite the slow tempo. ‘Karen’ was an interesting take on a love song. This seemed like a more realistic love song about fucking up and fucking on coffee tables. ‘Looking for Astronauts’ was my favorite track. The break up song has been told many ways, but this one had its own unique story that touched a nerve with me. ‘Baby, we’ll be fine’ is a track we can all relate too where we sometimes need words of encouragement after a rough day. ‘Friend of Mine’ was a more upbeat track and one that I can picture as a radio song as it is quite catchy. The only thing holding it back is its potential homosexual interpretation, although that worked for Katy Perry. ‘All the Wine’ was the only standout track the first time through as the opening line states he is a perfect piece of ass and I really love the guitar in this one. ‘Abel’ reminds me of Bruce Springsteen week as the lead singer adds a bit of desperation to the vocals and becomes a borderline scream. He must have had a weird relationship with Karen as she shows up again in ‘City Middle’ pissing in a sink. Even though it isn’t featured, the cello in this one is the highlight for me. Overall this was a solid album. It is not as upbeat as I usually like them, but like the Decemberists, the storytelling and intriguing tone held everything together.

    ‘Fake Empire’ starts off really slow and I started to lose interest in ‘Boxer’ immediately. Then it picks up and reminds me why I liked Alligators so much. I also notice the introduction of the keyboard. This seems to be the most common way for a band to mature and introduce a new sound. ‘Squalor Victoria’ and ‘Blank Slate’ were the only other standout tracks on this album for me. ‘Squalor Victoria’ opens with a nice violin and then the drum beat is one that I have never heard before. Throw in the word ‘fucker’ to the vocals and it becomes a hit for me. ‘Blank Slate’ and ‘Apartment Story’ are as upbeat as these guys get and both feature the guitar. ‘Blank Slate’ even throws in a mini guitar solo. There just isn’t a lot of energy in this album and the lyrics can only take it so far, especially when they are focusing on taking it easy with your loved one. If you like ‘Fake Empire’ then I can see how one would come to love this album as each song sounds like a carbon copy of the previous one. This is similar to 10 Years’ The Autumn Effect for me as I loved the recipe they use for each song, but can see how it can turn off others with the lack of variety. Unfortunately I am on the other side of the fence with this album.

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  3. Unfortunately I was only able to listen to ‘High Violet’ once this week, but I am hoping that enough exposure to The National from the first two albums will be enough to help me ‘get it.’ I think I might like ‘Terrible Love’ more than almost every track from the other two albums. The guitar is borderline heavy and their sound is so much fuller. It is amazing to me how much of an impact adding backing vocals has on a song. ‘Anyone’s Ghost’ was very cleverly written. I haven’t ever heard this as a song subject, but am very intrigued at the concept. With the theory of haunting someone due to unfinished business, it makes sense that we should try to finish our business with everyone and leave everything on the table. On that note, Laura, you *ate me. ‘Little Faith’ was another great track due to all of the different instruments that make an appearance. I hear a piano, keyboard, violin, and even something that sounds like a rattle. I really liked ‘Afraid of Everything’ as well. I have not noticed a true chorus with many of their tracks, but this one really stood out to me. After three tracks that do not do much for me, they pick it right back up with ‘Conversation 16.’ The pounding drums towards the end and the harmonizing back up vocals were the highlight for me.

    I wish I could have given High Violet a few more listens before posting. I think I may have to agree that it is in the running for album of the year for me as well. Granted that I have not had a lot of new music come out this year, but it will probably end up in the top 5. I saw it on sale at Best Buy for $8, so perhaps I will pick it up. Thanks for the introduction.

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  4. The National was a band that David really wanted me to see at Bonnaroo in 2007. After getting set up Thursday night we went to see them play, they were the only band we saw that night. I was really unfamiliar with their music, except a few tracks David had played for me, and I didn’t really see what was so great about them. After seeing their performance, I gathered that they were a tremendously tight band that could orchestrate powerful rock ballads and I began to understand the hype. I was left a little bored by Matt’s singing, as it was very monotone and hushed, and was drowned out by the band in their live performance. After listening to most of High Violet in David’s car last week, I still found myself numbed by Matt’s baritone; it will be interesting to see if this music does grow on me like it does with some folks.

    Upon the opening notes of “Secret Meeting” I am immediately brought back to that band that played so well that Thursday night. Matt’s singing immediately draws the inevitable Morrissey comparisons; knowing David’s love of Morrissey, it makes sense that he enjoys the National so much. There is such a full sound when they really get it going on tracks like “Lit Up”; there is a U2 or Coldplay type of grandiosity that would benefit in a stadium or arena setting. “Daughters of the Soho Riots” could easily be a Tom Waits song; Matt’s throaty cadence lends itself to the bleak storytelling, this song is hauntingly gorgeous. This is very intimate music; I would never play this at a party around just anybody. I’m halfway through Alligator and I’ve heard Matt actually moving his voice more than I thought by this point, which is definitely helping their case. “All the Wine” is very playful and a fun listen. Like Thomas, I also get hints of Springsteen in “Abel”, but my comparison comes from the big lead up and flourish at the end of the song. “I’m on a good mixture, I don’t want to waste it”; the lyrics in “City Middle” makes me think of countless hipsters and drunken nights of strange conversations and encounters in the city. I can’t believe how night and day my first and second listenings of Alligator were, I am blown away by this band.

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  5. I really enjoyed this week. David was right when he said "High Violet" had to grow on you. It did and it became my favorite album of the week. Of course, I listened to it the most. I liked the other albums right away, just not as much. Maybe I will after more listens (and/or after I see the band at Bonnaroo).

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  6. I enjoyed the lush, Sufjan Stevens-like horns at the end of “Fake Empire”. “Mistaken for Strangers” is immediately recognizable as one of the tracks David earlier played for me, Bryan’s drumming stands out on this track and on into “Brainy”. Despite Matt’s deep tones “Brainy” is a beautifully sung pop song disguised as melancholy moodiness. My first listen to each album is very snoozy with the exception of a few tracks, but subsequent listens are a completely different experience. “Squalor Victoria” was a terrible listen the first go-around, next time it was a grand toast to mediocrity, I mean the lyrics to the song. “Slow Show” is relatable for most everyone, especially for me with the awkwardness of situations and relationships. Boxer doesn’t rock like Alligator but the writing is better. I just read that Sufjan helped out on this album as he appears again on “Ada” which I’m still not sure what exactly Matt is conveying with this song. I didn’t enjoy this album as much as Alligator but it definitely grew on me.

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  7. Starting off with "Alligator," I liked The National immediately. The low voice that bothered me at first on "High Violet" wasn't an issue for me on this album for some reason - it just seems more fitting to the melodies here. "Secret Meeting" is a great song. I love the chorus, and the beat. I'm kind of slow to catch on to lyrics but music is kind of uplifting. I also like that even when these songs are slower, none of them are slooow or blah by any means - these guys are great at keeping the attention of even the worst ADD cases (me, even though I'm not officially ADD). The guitar on "Looking for Astronauts" reminds me of the sound that initially attracted me to Coldplay. There's something just innately beautiful about this music. Once we get to "Baby, We'll Be Fine," the singer's deep voice begins to contrast with the higher range instrumental. Had I not listened to "High Violet" over and over again in the beginning (working backwards) this might not have worked for me. Like David said - a lot of this music takes some getting used to. For me, the baritone is uncomfortable in the beginning but grows on you as it becomes more familiar, as it has over the past week. That being said, the music itself for me took no time to get used to - I liked it immediately, as I had already planned to see the band at Bonnaroo this year before this week and even before "High Violet" came out, just by sampling a couple of tracks on Grooveshark. But I might have moved them from Tier 2 (want to see) to Tier 1 (must see). "Vale Jester is beautiful and sounds like a symphony." I didn't like "Abel" as much, because it was a little harder starting off and seemed to take a step back from the beauty, but the rest of the album is really solid.

    OK people are going to be here for a LOST series finale BBQ here in a half hour so I need to jump in the shower and finish later. Plus I still have to post about Jamie Lidell. Expect that tonight.

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  8. When I saw we were doing “The National” I immediately went to CD now and looked them up. The first thing I noticed was this guys voice, and at first listen I was immediately put off. So I am hoping that with repeat listens it will grow on me.
    “Aligator” starts off with an actually very pretty song “Secret Meeting.” It reminds me very much of an 80’s song, and I think the more I think about it, it is reminiscent of U2. I think I would really LOVE this song if not more the monotone vocals. “Karen” does absolutely nothing for me, except make me sleepy. I think it is funny that the phrases “cock in hand” and “fuck me and make me a drink” are used in the song. Maybe that was their way of taking a boring song and adding some flavor to it. “Looking for Astronauts” is another well orchestrated song. “Daughters of the Soho Riots” kind of takes a folky turn, and I think that the piano adds a very beautiful aspect to the song. I am noticing that I can’t quite put my finger on their style overall. It is almost as if they have come up with their own genre because it is somewhat atmosphere/rock/folk/instrumental, etc. “Baby we’ll be fine” is great, I love the guitars and violins and the beautiful symphonic tone it creates. “City Middle” is very reminiscent of some kind of medieval music to me. I really like the simplicity to it, and I hate to say it but I think that Matt’s voice is starting to grow on me. Overall I think this album was so unlike anything I have ever heard before and there were quite a few songs that I really enjoyed, so I am looking forward to the next 2 albums.

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  9. "Boxer" starts off on an awesome note with "Fake Empire." That piano line is just epic. I could see this as a backdrop for an awesome TV drama. (Is it odd that LOST just wrapped up and I'm saying that?) Has this song been used in a commercial? I think it might be my favorite song by the band, period, to tell you the truth. I love the drum line on "Squalor Victoria" and the chorus is kind of catchy. Nothing else stands out until "Slow Show." I just like the flow of the song and the storytelling. And there's something sweet about "Start a War," a perfect way to wrap up the album.

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  10. And now onto the album I'm most familiar with. The opening guitar line on "Terrible Love" sounds like it might be a Beatles epic until that voice comes in and distinguishes it. As soon as you hear that voice, you know the song is uniquely The National. I like how the song builds tension throughout and then drops of - the last few seconds are silence. "Sorrow" might be my third favorite song of the week - the chorus is incredibly catchy. I found myself singing it in my head during volleyball. "Anyone's Ghost" is also kind of catchy, thus the Facebook status earlier this week. And Thomas, you know that isn't true. The beginning of "Little Faith" is just nervewrecking... but it gives way to some of the sweetest music we've heard all week. I like how the music plays with tension and release and plays with your emotions. "Afraid of Everyone" is hauntingly beautiful. "Bloodbuzz Ohio" is my second favorite song of the week, if not tied for first, and is an interesting tribute to the band's home state. "I never married but Ohio don't remember me." "Lemonworld" is pretty but I'm not sure I get it. "England" has kind of got that haunting echo... and the album closes strongly with the weirdest named song, but also one of the prettiest and most fulfilling, if that makes any sense.

    Can't wait till June.

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  11. “Boxer” starts off with “Fake Empire,” and I like the simplistic intro to the song that gradually just build over time as we get into the song. “Squalor Victorious” kind of annoyed me lyrically but I loved the instrumental aspect of it. I thought after listening to this song a few times the vocals would not bother me but they are somewhat put offish for me. “Green Gloves” was a very “elegant” song to quote David. It was very soft in nature, and made me picture myself hiking through the woods and taking in all my surroundings. I always love music that takes me away from my true realities. It wasn’t until “Guest Room” that I was back on track with the band, up until this point I was kind of bored and anticipating the songs getting over with. “Racing like a Pro” has a wonderful guitar performance, and adds a powerful dynamic to the song. “Ada” really is a showoff song, as I listen to it I hear so many different instruments being used, I am wondering what a live performance would be like for this kind of song. I am assuming much more simplistic, but you Bonnaroo peeps will have to let me know if they can pull off a live show as well as their studio recordings sound. This album was not as good as “Aligator” for me, but I did once again find a few songs that I really enjoyed.

    “High Violet,” unlike almost everyone else, is the album I listened to the least so I am hoping that I appreciate it just as much as everyone else has. “Sorrow” is a bit of a dark song; I can’t help but be pulled in by that building tempo though. It is also interesting to hear what sounds like a boys choir chiming in, in the background. I really like the guitar riff in “Little Faith” and the vocals are almost echoing in the background. It kind of reminds me of the vocals of Justin Hayward of the Moody Blue’s in the song, “Isn’t life strange” at times. I really enjoyed this song, and I think it had such a great mix of mellowness, and rock in it. “Afraid of Everyone” has a nice soft intro and I kind of wish the song would have stuck with it and left out the drums. While it creates a more powerful effect, I think that the vocals in the background should have been the standout in the song. “Runaway” reminds me of an intro to an Alexi Murdoch song, just proving the point that this band is all over the place and keeps you wondering what will be next. I have to say the last three songs were highly enjoyable as well for me. All in all this week was a pretty big shocker for me. At first listen I was thoroughly turned off by Matt’s voice, but it just goes to show that music can grow on you, and if you have a great band to back you up you can put out superb music. Another great band to add to my music collection.

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  12. “Terrible Love” didn’t take multiple listens to enjoy; I honestly can’t believe that after seeing these guys live that I wasn’t completely sold. “Sorrow” makes me wonder how long the song had been written before they finally recorded it, it seems a long time in the making. I love the droning guitar that sets off “Little Faith”; once again the arrangement of music by these guys is superb. It’s evident of the musical prowess this collective possesses and I strangely admire how they refuse to wander too far out of their norm but still manage to make lush music without it sounding stale. “Lay the young blue bodies with the old red violets”, if that lyric from “Afraid of Everyone” doesn’t give you chills you’re dead inside. “Bloodbuzz Ohio” is their finest song to date, achingly beautiful and anthemic. The second half of the album doesn’t quite live up to the beginning, but the final track “Vanderlyle Crybaby Geeks” really leaves a lasting impression with Matt reaching back, as if he’d been holding back, and releasing that beautiful voice that he possesses he lays it all out for us. This is powerful music from a band that deserves their due.

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