The National’s New, High Violet

The National‘s new album, “High Violet” (4AD) is out in stores today, after an electronic leak of the album started flooding the Internet in the winter, alongside a band profile by the New York Times that temporarily included a complete album stream.

When the NYT article came out, I was listening to the stream several times a day–whenever I was at my computer. I eventually caved in and got the leaked version from a friend, and I now have the studio version from the label…such a tedious process of listening! But well worth it.

When I interviewed the band three years ago, lead singer Matt Berninger mentioned how their latest album leak had actually helped the band achieve industry buzz. At the time, he regarded the “Boxer” leak as a positive consequence.  I’m not sure how Berninger now feels about the “High Violet” leak, though; the album was a lot more public and anticipated. Early leaks with more mainstream albums can alternatively hurt the band and hinder album sales.

As a “true” National fan, I was worried and skeptical about “High Violet,” especially when I started hearing the band was searching for a bigger sound. The guys had already toured with REM in gigantic amphitheaters and had had great success with the “Dark Was The Night” compilation that some of them worked on. My fear was that the sound would become broader to accompany all of the band’s new fans, but would prevent the band from capturing its original target audience.

It’s important to note that a band becoming popular is not the issue. I don’t consider myself to be a person who hates a band just because they become mainstream. The growth only becomes a problem when the band loses what made them unique in the first place and/or has no new original sound. Upon The National’s gain, I immediately thought of two bands with independent beginnings that grew to appeal to a larger audience–Radiohead and Coldplay. In my opinion, Radiohead worked this type of systematic progression to their advantage. Coldplay didn’t. It was my fear that The National would end up like the latter.

“Terrible Love,” the album’s opening track, caters to this type of “bigger” sound. It starts with a distant, growing electric guitar buzz and repeating, echoed lyrics, before building to a climactic instrumental chorus. The song’s easy to understand and easy to bob your head to; it’s a good driving song that beckons the listener to stay tuned.

Track two, “Sorrow,” brings the band back to its signature sound, with doleful, untouchable lyrics  and subtle piano and violin. “Sorrow” reminds fans that The National can evolve without losing their charm. The next tracks, “Anyone’s Ghost,” and “Little Faith,” are less memorable; the former track is repetitive while the latter is creatively catchy until it breaks out into a pounding Coldplay-like anthem with a “leave our excellent souls” line that sounds like “viva”-this and “viva”-that.

Yikes. This was the only part of the album where I hoped fans wouldn’t be disappointed. The song “Afraid of Everyone” does the same thing; it follows a pattern of simple to complex and propels itself to a theatrical ending.

The band makes up for the lackluster songs by nailing four outstanding tracks back to back in the later half of the album–“Bloodbuzz Ohio,” “Lemonworld,” and “Runaway.” Where “Bloodbuzz” is the album’s vibrantly charged single, “Lemonworld” is the album’s less-poppy underdog. It’s another track that exemplifies The National’s superb wordplay and simple, but striking composition. The line, “Lay me on the table, put flowers in my mouth / And we can say that we invented a summer-loving torture party,” is one of those perfectly placed lines that Berninger somehow sews together to make his fans drool. “Runaway” accomplishes the same sentiment, but with deeper structure and movement.

The end of the album nears the closest to accomplishing the desired larger sound. The songs speak of public every-day issues at home and abroad–some affecting fame, some affecting relationships–all of which stab the listener’s heart with clear articulation of thought. An echoing, orchestra-like sound fills the tracks with practiced vision…the last three songs sound as if they have had time and more time put into their complex instrumentation. The sound could fill an entire concert hall–something the band will likely manage more than a few times on this album’s tour. The question of whether this attempt at a new sound is truly effective lies within the band’s fan base…no longer is The National about intimate settings such as those within their older song, “Wasp Nest,” or “Racing Like A Pro.”

At the same time, the movement toward a more expansive sound may be a one-time decision of the band’s. As the guys stated in the NYT article, they were indeed aiming for a specific sound. A lot of time and energy went into creating the album. Whether this collection, with its thundering drums and dramatic transitions, ends up pleasing their earliest fans or not, at least the album is an attempt at something new.

The National is touring through Boston at House of Blues in June. Check out their website, http://americanmary.com for more information.

About Jennifer Brown

Jennifer Brown (COM '10) is a music writer for the Quad. She started working with national indie music acts and booking shows/interviews during her sophomore year of high school at Penn State's WKPS. She then traveled to Germany and explored the techno/HAUS scene and her love for all-things German. After that she worked at WKPS some more before finding her "home" at Boston University where she was a music director at WTBU. She has since added to her resume Pirate Promotion and Management, On A Friday, and the Cambridge Chronicle. Jen is now in Germany, taking some classes and booking shows.

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7 Comments on “The National’s New, High Violet”

  1. I flat out love these guys and am not the slightest bit disappointed with this latest effort. These guys have nothing to prove and remain one of the few bands in which I’ll buy their album without listening to a single track. Bloodbuzz Ohio, Lemonworld, Runaway and Conversation 16 carry the sound that listeners have become accustomed to and allow them to branch out and take risks with other tracks.If they want to take risks, they’ve earned the right and loyal fans like me will be there to brace their fall. I welcomed the new arrangements and see this as another giant step forward these guys. The repetitive lyrics remind me that less is more and I still often find myself lost in a hypnotic state when I let the album play out.

  2. Hey, I have to agree with a lot of what you’re saying. I was trying to take devil’s advocate on this album, and it was hard. I still listen to THE WHOLE THING all the time, haha. I hope The National’s realest, oldest fans are feeling the same way. Jason, to see other thoughts on the album, check out the comments on that NYT article…pretty unbelievable how much opinions can vary.

    Also, just curious–are you or were you ever a Coldplay fan? How do you feel about the professional choices they made with their music?

    Thanks for reading,

    Jen

  3. I am glad they looked at the leak as a positive thing. I read about the leak on http://www.leaksallday.com – I definitely agree that it got them some extra industry buzz. I know people that strictly heard of them from the album leaking, and wouldn’t have heard of them if not for it.

  4. I flat out love these guys and am not the slightest bit disappointed with this latest effort. These guys have nothing to prove and remain one of the few bands in which I’ll buy their album without listening to a single track. Bloodbuzz Ohio, Lemonworld, Runaway and Conversation 16 carry the sound that listeners have become accustomed to and allow them to branch out and take risks with other tracks.If they want to take risks, they’ve earned the right and loyal fans like me will be there to brace their fall. I welcomed the new arrangements and see this as another giant step forward these guys. The repetitive lyrics remind me that less is more and I still often find myself lost in a hypnotic state when I let the album play out.

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