The National, an indie rock band from Brooklyn, NY has done it again with their fifth studio album High Violet. It's been three years since the release of their last album Boxer. On High Violet, the band takes the best parts of their sound and adds a bit more melody and instrumentals to combine with Matt Berninger's unearthly vocals. The opening track "Terrible Love" is an instant hook. Compared to past albums this opening track is a jaw dropping ballad of low-fi tones and perks of acoustics. From the get go Berninger's vocals are as elegant as ever, sounding cleaner and more appeasing than usual. It takes half of the song to really open up the album. As a piano kicks into the background a slew of drums and noise surround the anguished vocals. "Sorrow" is a downtrodden song about a life controlled by sadness. On "Bloodbuz Ohio" a classic National piano beat directly in time with vocals gives the track a cluster of similarities to past albums. The nostalgic lyrics "I still owe money to the money to the money I owe/ I never thought about love when I thought about home," swings weight to the origins of the band. "Conversation 16" has that stuck-in-your head thing going for it. The chorus is catchy as something you may remember from "Mistaken For Strangers" off 2007’s Boxer. One great thing about The National is their metaphorically almost untranslatable lyrics which make appearances in most songs. Leaving listeners humorously question what exactly are they talking about? "Conversation 16" brings about some of the oddest and best. A well written song about a reflection on life finishes with the lyrics "I was afraid I’d eat your brains/ Cause I’m evil." "England" is a beautiful ballad that brings instrumentals you'd think to be in epic movie scores to the table. Is there something you're not telling us John Williams? Soft strings are played over an echoing drum pattern that you can feel through your entire body. The closing tack "Vanderlyle Cry Baby" has a loss of energy from the album. Where the sound is simple and partially acoustic vocals are also more natural and less bone-chilling. It's got a bonus track feel to it compared to the beautiful tracks prior. High Violet definitely showcases some of The National's best efforts. It’s hard to imagine Berninger's vocals being more hauntingly addictive, but here they are smoother than you could dream. An overpowering of strings and drums alight the band as they always have. If any musical composition this year could hit like a drug High Violet is it. Everything is pieced together perfectly, potentially making this the bands best album yet.
|
