Last week, the greatness of The National released what is one of the most anticipated releases of the year with their new album, their fifth studio release, High Violet. Already the band has been receiving a ton of attention surrounding the release of this record, and rightfully so, as their prior work justifiably has led to a lot of hype on this one, and the hype is warranted in this case. The album probably will take a few listens to sink in and take hold the way its predecessors had. It is maybe not as instantly digestable and quantifiable as the prior two efforts, but that may even make it a stronger overall album. The band is definitely sure of themselves here and exhibiting a confidence over their material that surpasses any of their prior efforts. The band has taken the next step in a great string of albums that continues on proudly with this record.
Before the album came out Matt Berninger I believe said something to the effect that the new album had more of a release than Boxer but not quite as much as Alligator, which I would have to say is pretty much true. Alligator had this frantic energy that brought the album into wild crescendos and exciting places (case in point, “Mr. November”) while Boxer was an extremely hushed and reserved album that never really got out of control, and was very introverted and introspective. This album takes it in a new direction in that the band feels less like they are playing to themselves (as in Boxer) and less like they are playing to prove themselves (as in Alligator) and are more confident in their songs, their material and everything about them that they are not only playing with a quiet confidence and passion, more focused energy (less frenetic) and it also sounds like they are really playing to and with a larger audience. It feels more open, more involved with the world around it than their previous albums, and it makes it more of an experience. They really take the album to some really great places here, and while I think many will initially not fall in love with it as quick as the past two albums, the strength this album has will not let it be overshadowed by those efforts, and in the long run it will likely surpass them.
The album opens with the warbly chords of “Terrible Love” and proceeds through the highs and lows of the superb opening track of what is sure to be yet another National classic. It is also a perfect example of the more focused energy of this album, as the epic crescendo of the song never feels out of control, but feels as powerful and energetic as ever. “Bloodbuzz Ohio”, the first single from the record, and similarly an instant classic, echoes the classic National stop-motion drum beat over great vocals by Berninger that once again reach a noisy peak towards the end of the song, but once again, it feels powerful, but the band never loses track of the song. They are like a fighter that has learned a more efficient and tactically sound way to attack, and they display it throughout the album.
There are more vocal harmonies (see “Afraid of Everyone” and “Bloodbuzz Ohio”) and there are more epic walls of sound moments on this album, and both of those things really contribute to the more open and airy feel of this album, especially compared to the weighty oppression of Boxer. This album comes out of its shell in a whole new way. Some of the other standout tracks on the album are the great “Afraid of Everyone”, featuring great vocals once again and a more open feeling for what could have been a seemingly so introverted type of song. “Lemonworld” has a great rhythm and great summer-y feel to it. “Runaway” is one of the most sing-alongable and best songs on the album despite being one of the most simple; it is a slow lumbering burner of a song that keeps its weight and dimension throughout due to a superb vocal by Berninger. “Conversation 16″ is probably the most modernly influenced sounding song we’ve heard from the National with its pseudo-drum machine beat and measured, echoed/delayed guitar strums, but it doesn’t sound out of place and has a really well done sound to it. The album generally has a more modern, updated feel than its predecessors, and the real major difference is that it sounds much freer and more open.
One great thing about this album is that it is still so unmistakeably The National, yet it really does not follow precisely or borrow from any one of thier prior records moreso than the others, and it also seems to be more exploratory and open. One side effect is that this album doesn’t seem to have the same weighty feel to the songs that the prior records had, and some may really see that as a drawback, that the opening up of their sound somehow diminishes their power and weight as a band. I can certainly see how that change may turn some people off, but a band has to evolve, and they have evolved in a great way here with this album. I’m not sure they have created quite the same ‘lightning in a bottle’ that they may have captured at times on Alligator and Boxer, but they have created a whole work here that is really strong and confident and superbly done. The album seems to mark the band recognizing its own greatness, and a lot of the unsureness and uneasiness that may have existed on prior efforts is gone here. You seem to have a band that is embracing its newfound high popularity and coming out of ‘underground’ status, and you just have a band at the top of their game plowing you over with killer material.
The National – Terrible Love – From High Violet (CD, Vinyl, MP3, iTunes)
The National – Bloodbuzz Ohio – From High Violet (CD, Vinyl, MP3, iTunes)
