Album Review: The National: High Violet

The National: High Violet (2010), 4AD Records


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It's no small admission to say that The National are one of my favorite bands. Ever since i heard "Secret Meeting" in late 2005 (yes I know, I was pretty late to the bandwagon on that album). Alligator became one of me and my brother's favorite albums soon after. Adding to this was the first time I saw them live at Bonnaroo in 2007, right after Boxer had been released. For a show at a festival it was surprisingly intimate. They also were joined by Padme Newsome, violinist extraordinaire. His work on the violin that night made that show. It was some kind of intense mix of raw emotion and skill and showmanship. If you can track down a good quality audio or video of "Baby We'll Be Fine" from that show, snatch it up.

Ok, back on track

High Violet is the third truly great National album. It is the third album produced by the band and Peter Kalis (he of Turn on the Bright Lights and Midnight Organ Fight fame). When I speak about High Violet I tend to bring up both Boxer and Alligator a good amount. This is not to disparage High Violet in any way, it certainly has it's own style and thematic power. What is amazing about this album, though, is that it takes most of the great parts from both Alligator and Boxer. It combines them to make a powerful album. Pretty much the only thing it is missing is the emotional power and shredding vocal chords of Alligator's finer moments.

Let's begin our walk with the spiders

Track 1: Terrible Love
Such a grand opening track. The slow burn intro is a perfect launching point. Such a simple song until the end, when Matt kind of goes in to a bit of a frenzy. It's so powerful as an opening song just because of the immensely slow build. By the end of the song the drummer is absolute wailing on the drums, the beat is barely recognizable. The song is also just all around great. Reminiscent of Alligator's cryptic lyricism.
Verdict 9/10


Track 2: Sorrow
Awww. Sad song. But even when The National do sad, it is still a strong work. "Sorrow" is a good example of how lush their music has become. their are strings hidden in the background, as well as a light piano layer. This is the biggest separator when it comes to High Violet compared to its predecessors. It takes advantages of all of these additional sounds on virtually every song.
"It's in my honey, it's in my milk"
Verdict 8/10



Track 3: Anyone's Ghost
Sad song, but a little more paranoid than the last. This has become one of my favorite songs on this album. I feel like there is real anguish in Matt's voice on this one. lyrics like:

"You said I came close, as anyone's come
To live underwater for more than a month"

and the less subtle:
"You said it was not inside my heart, it was
You said it should tear a kid apart, it does"

feel like they have real, strong emotions behind them. Every instrument sounds horrifically downtrodden as well. Certainly a depressing song, but with more emotional merit than the previous track.
Verdict: 10/10


Track 4: Little Faith
I love the effect at the start of this song. Just so abrupt coming off of "Anyone's Ghost". "Little Faith" is like the afterglow after the shine of living in the city ends. It seems as if Matt's narrator has become quite despondent. with choice lyrics of "I'll set a fire just to see what it kills" and "make us laugh or nothing will", this song certainly has a level of nihilistic flair. The mood of the song is very similar to the lyrics. It is driven by a low end violin chord. This album certainly has a depressing feel to it.
Verdict 9/10


Track 5: Afraid of Everyone
Matt has mentioned in interviews that the paranoid, regretful, depressing lyrics on this album stem from his having a child and the emotional toll it takes on the parents. His worry for his child has developed into a little ball of emotional baggage, and it shows on this album, and on "Afraid of Everyone" specifically. This is one of the stronger emotional tracks on the album, and he references having a child and the perils that come with it directly. also, an older Alligator standby of the screaming chorus returns with "You're the voice that's swallowing my soul soul soul".
Verdict 10/10


Track 6: Bloodbuzz Ohio
What a great song. The first single as well. A very archaic National song, with cryptic and romantic lyricism. It doesn't get much more National than "I was carried to Ohio in a swarm of bees". Just a very enjoyable song all around. Also the video is just so awesome in a strangely funny, creepy sort of way.



Verdict: 9/10


Track 7: Lemonworld
This track is another anti-city one. There is something very attractive to me about Matt's high-class lyricism every so often. This song is a good example of this. "this pricey stuff makes me dizzy,I guess I've always been a delicate man". The National live in this almost Mad Men-esque world of cocktails, girls, drugs, and the bright lights, big city. There is something to admire in that. But songs like this bring us back down to earth and tell us that even the greatest of Brooklynites like to get out of the city once in a while.
Verdict: 8/10


Track 8: Runaway
"What makes you think I enjoy being led to the flood?" I really love that lyric. I really like this song. It is pretty much the blow by blow of a fight between two people. Jeez Matt, what is going on in your life? Anyway, good song, beautiful use of the horn section.
Verdict: 9/10


Track 9: Conversation 16
A very ominous track. Also kind of stalker-ish in The National's cryptic way. Another beautiful song, with a great low-key string arrangement. This is the one song that I didn't immediately love. I think the chorus is just so weird and almost too blunt. But not a bad song, that withstanding.
Verdict: 7/10


Track 10: England
"England" is the most complete song on this album. It certainly contends with "Anyone's Ghost" for my favorite track on High Violet. I love the longing lyrics. Losing a love, friend, or whatever to not necessarily the actual country of England, but just distance. This is also just an amazingly great song musically. The horns in this song are nothing short of epic. The tonal shift about two thirds through is so grandiose as well. The climbing intensity is nearly perfect. This could have easily been the last song on the album.
Verdict: 10/10


Track 11: Vanderlyle Crybaby Geeks
This song almost feels like a let down just because it comes after "England", but it is a good song in it's own merits. It almost feels like this song is an apology for the whole album, and how sad, angry, and paranoid it was. It is a strong closing song as well.
Verdict: 8/10


Cohesiveness Score: 10/10
Well done. The album opens and closes strongly, and there is a definite theme throughout.

Final Score: 107/120 = 8.9


Final Thoughts:
The National may have made the best album of 2010. It is a powerhouse of emotional, thought provoking songs. It is a wonderful evolution from a band that is only going to become even better with age.







Bonus Track: