The National’s newest album finds them at that coveted point in their career where they have the liberty to do basically anything they want, at least musically. On High Violet that means they’ve produced their darkest and most mature album in a career that’s been full of them.
The album opens with the scratched-out and ethereal "Terrible Love". All-encompassing guitar, light drums and spare piano set the backdrop for the track as it builds ever stronger. With Matt Berninger's smooth and powerful vocals front and center, the entire track is pulled together to become something truly profound. Vocal harmonies situated in the background (reminiscent of those on Coldplay's track, "Viva La Vida") give balance to the opener.
“Sorrow” opens with the soft patter of a high-hat, syncopated with gently strummed guitar, followed by one of Berninger’s most mature vocal performances. It’s an emotionally charged track, building in strength over the course of its three minutes; it is ultimately heart-breaking. Lyrically the track is a little ambiguous for the first portion, with Berninger singing about sorrow finding him when he was young, how it overcame him, and how he yearns for sympathy because he just doesn’t “want to get over you.” Without the strong backbone of this track, it seems doubtful that the band could wrangle such sentimental and depressing lyrics, but here they pull it off with grand style.
If The National’s attempt to incorporate a little electronic into this album does not cross your radar by the third track, “Anyone’s Ghost,” then it might be time to listen more closely. The minute details are evident in the down-tuned opening, but are covered ultimately by the inclusion a string arrangement. There cello in the background parallels the dark lyrics: “Didn’t want to be your ghost, didn’t want to be anyone’s ghost, I don’t want anybody else.” Even by the third track of High Violet, it is apparent that The National have matured incredibly over the past few years.
If you consider yourself any kind of National fan, chances are that you have already heard “Bloodbuzz Ohio,” which the band offered as a download about a month ago via their official website. That song provides a good representation of the rest of the album, demonstrating how The National manage to bring a more dramatic, altogether melodic sound to High Violet, artfully blending the finer aspects of Boxer with a darker, more melancholic approach.
“Lemonworld” calls to mind the style of early National, but something about these guys has changed, and for the better. Their sound is more focused than ever before, and while their lyrics may still puzzle you here and there, “Lemonworld” serves as a worthy example of how strong an understanding exists among Matt and the two pairs of brothers in the group.
The album closes with “Vanderlyke Crybaby Geeks.” Berninger isn’t pulling the dramatic, tear-jerking Chris Martin card here, but he nevertheless has created a powerful ballad. This is a slowly-paced, striking track, complete with a full string section and that recurring, gorgeous piano that will undoubtedly leave your jaw open, minutes after the album has ended. It is just that good.
Overall, it looks like The National have reached their ultimate goals with High Violet: their fifth album is a beautiful, masterfully-crafted representation of their progression of sound in the years since Boxer, and, truthfully, in their career overall. The way they approach the music has been the unchangeable constant, and while their sound on High Violet may be likened to Boxer, without a doubt, The National have grown tremendously. With their inclusion of string and brass sections, angelic backing vocals, and Matt Berninger’s ever-present velvety baritone they will leave you begging for more.
Track List:
1. Terrible Love
2. Sorrow
3. Anyone’s Ghost
4. Little Faith
5. Afraid of Everyone
6. Bloodbuzz Ohio
7. Lemonworld
8. Runaway
9. Conversation 16
10. England
11. Vanderlyke Crybaby Geeks
