High Violet

Before I decided to buy this cd, I'd never heard of the National. Indeed, at first, I thought that I had read that there were only two band members. The National is a Brooklyn-based indie rock band formed in Cincinnati [hence "Ohio Blood Buzz"] in 1999. The band's lyrics are written and sung by Matt Berninger, a very low-key, but precise baritone. The rest of the band is composed of two pairs of brothers: Aaron and Bryce Dessner and Scott and Bryan Devendorf. Aaron plays guitar, bass and piano, Bryce plays guitar, Scott plays bass and guitar, and Bryan is the drummer - and a very fine drummer he is, indeed. Padma Newsome, from another band often adds strings, keyboards, and other instrumental layering. The National has an acclaimed indy history, though, after listening to High Violet, I found nothing of its caliber in the older albums, though they are good. Nothing to indicate the radical departure the group has taken. The debut album, the eponymous The National was released in 2001 on Brassland Records, a label founded by band members Aaron and Bryce Dessner, among others. The 12 songs were an array of country/bar room/pop. I particularly liked "Beautiful Head", for its delicate roots orientation. The National's second album, Sad Songs for Dirty Lovers, was released in 2003, and, like the previous album, was received favorably, though impact was not widespread. In 2004, the band released an EP, Cherry Tree, which included the live favorite "About Today," as well as "All the Wine". The EP evoked further positive reaction, and its success landed them a successful tour. Their 2005 album, Alligator, was met with much critical acclaim and featured highly in "Album of the Year" charts. Some reviews hailed it as one of the top records of the decade. Alligator sold over 80,000 copies. The National's fourth album, Boxer, came out 2007, and critical acclaim grew. A number of TV shows (and some movies) began using The National music. The songs "Fake Empire" and "Start a War" were featured. Music videos and a full-length documentary on the band followed. Word of what would become High Violet began to spread in 2008. The National performed live versions of "England," "Bloodbuzz Ohio," "Vanderlylle Cry Baby" (later retitled "Vanderlyle Crybaby Geeks"), "Terrible Love," "Conversation 16," "You and Your Sister" (later retitled "Lemonworld"), "Sorrow," "Anyone's Ghost," "Believe Me" (previously called "The Blue Sky" and "A Thousand Black Cities"), and "Karamazov" (a reference to Dostoyevsky's The Brothers Karamazov, a band favorite), which was retitled on the album as "Runaway". Thus, the genesis of High Violet High Violet is absolutely stunning. In my opinion it is far above the group's previous work, though I would definitely pick up copies of Boxer and Alligator. High Violet is far more, somehow, than the sum of its parts. At first listen, I loved the album, but I thought that it might be too much of a good thing, that it wouldn't last as I listened to it over time. I was wrong. The more I listen, the more I hear and the more the songs become part of me - if I had the voice, I could sing them. I can hear that thought and invention were put into virtually every second, and new details emerge continually over time. There is not a single weak song. I would have written a review far sooner, but I have difficulty finding the words to describe this album. The music does not seem to stem from any of the main basic types of American music - it is not African-American, it is not country-western, it is not jazz, it is not tin pan alley/show tune. It is sui generis. The music is very melodic, tempos running from ballad to not quite fast paced, thick with detail (especially on "Terrible Love", which on first listen on bad speakers seemed too thick, kludgy, but over time has revealed a very precise spare swirl of artistries), powerful and almost anthemic. I think that every member of the band must be first among equals, because everything comes together so terribly well. The lead singer's voice is highly expressive in a low, restrained way, except when it is bursting forth with a fine ringing baritone. The singer's voice and the album's themes unify it, but so does the music - at the end, it is one piece of music that happens to come in parts. Recurrent images - ocean, waves, sun, rain, souls, games, drugs, fire, New York, and flowers - create greater coherence, and, over all, even when highly emotional, the album is calm, restrained in a way that makes every detail carry greater weight. Every single song is about pain and/or sadness - the second song is called "Sorrow." Yet, rather than being depressing, the album is cathartic; the songs are so powerful that, while they plumb the depths, they are also sustaining, and they are so thoughtful and perceptive (and funny) that they leave one pensive. The lyrics are allusive and elusive, like good poetry. They are lean and repeated, but somehow avoid being repetitive, perhaps because one really needs to think about them as they go by. Sometimes - no often - they make little literal sense, but they are just right in their contexts, creating emotional developments that give the words sense. "It takes an ocean not to break." What does that mean? Listen to it in the song "Terrible Love", and it will make sense. To me,anyway. There is a very high number of memorable, if somewhat cryptic, lines. A few: "It's terrible love and I'm walking with spiders .../It's quiet company." "Sorrow found me when I was young/ Sorrow waited, sorrow won." "Awesome prince, get your sleep/ Lose your high history/ Make us laugh, or nothing will/ I set a fire just to see what it killed." "I was carried to Ohio in a swarm of bees/ I never married but Ohio don't remember me." "I still owe money to the money to the money I owe/ The floors are falling out from everybody I know." I gave my heart to the army/ The only sentimental thing I could think of." "What makes you think I enjoy being led to the flood/ We've got another thing comin' undone/ That's taking us over/ That's taking forever." [Who would ever imagine that this line/song refers to Dostoyevsky?] "Now we'll leave the silver city, 'cause all the silver girls/ Gave us black dreams/ Leave the silver city to all the silver girls/ Everything means everything." "I'm a confident liar/ I'll have my head in the oven so you'll know where I'll be." "Famous angels never come through England/ England gets the ones you never need." "All the very best of us/String ourselves up for love." And the final line of the album: "I'll explain everything to the geeks." Actually, nothing is explained in the album, but then it shouldn't have been. High Violet is an album to let wash over you, like an ocean wave - powerful, unlike any other though repeated endlessly, having its own meaning, possibly dangerous, complex but simple. Yes.

Came in good time. Very well packaged.

I go back to 2003's Sad Songs for Dirty Lovers in my admiration for this Great American Band. The track "90-Mile Water Wall" alone moved this band upward in my stack of ridiculously-copious buying binge of cd's (and that song remains to this day in my all-time-favorite Top 10 Ever). Then came 2005's Alligator. Holy Moly!! And yeah, I went back and caught up with the album Cherry Tree. AND THEN-- and then came their high-water mark in 2007 with "Boxer"! I couldn't believe these guys weren't common knowledge, household names (off my big-word-of-mouth alone and burning tracks for family friends neighbors strangers). And yes, I knew "Boxer" would be hard to match; so yes, I was prepared for a little disappointment.I pre-ordered my copy of "High Violet" and counted the days til arrival. On the first couple of listens I was 'hey, wait a minute here'. This is not MY The National. Matt Berninger vocals were not front-and-center here, but a tad more mumbled and in equality with the instruments. And was that a chorus?! Had The National ever incorporated a chorus of backing vocals to this extreme?After maybe 5 straight listens I pulled the cd from my player and went on to my next anticipated purchases (Band of Horses and Horse Feathers). But the songs that kept floating to the surface of my no-music workdays were from "High Violet". And I read a review from Paste magazine and, taking their advice, I began re-listening but starting with track 3 "Anyone's Ghost". A new album emerged. I'm not saying that the first 2 tracks are throw-aways because they're not. "Anyone's Ghost" was my early favorite.Today and the past week I've become entangled in track 5 "Afraid of Everyone". Originally this was a song I mentally bypassed as it played. And that was because it was dense and intense, complex and layered. I began to ingest it in bits and pieces. The rest of the world can curl up and fade away, come to a standstill now when this track plays. And Sufjan Stevens contribution adds to the absorbing mystery. Now the album start to finish is the only thing I've been able to listen to although I know I need to 'move on'.Still here are the trademark Berninger lyrics: sharp wit; dark and sad yet with a backhand of sly humor blink-and-you've-missed-it. Still here are the sets of brothers' great chops (and the drums! this time out!!). Still here are the horns and the strings, beautiful and elevating.The juggling act that bands must perform is this: stay true to their original sound and be accused of "not growing". Grow and be accused of "forgetting their roots". The National's "High Violet" stradles and juggles this conundrum to perfection. Sorry I ever doubted this amazing cast of characters.In parting: "I'll have my head in the oven so you'll know where I'll be." Da-amn!In addition (AN UPDATE): recently saw these guys in a small venue in Tulsa. So glad I didn't see them on a big stage. Because Matt Berninger was out of control, in the best & craziest of ways, out in the crowd.. That experience cemented these guys as MY BAND. The audience was reverent & so into the band/music... cause normally you go to a concert & the crowd only gets excited on the radio hits. The audience this time knew the words to every song. EVERY song. We were whipped into a frenzy from Song 1. And they never let up. Such a good thing to be a part of. Thanks The National. I love you all the more.

My husband is just recently getting into vinyl. This is one of ours favorites. Sounds great! Can’t go wrong with The National. Ever!

The album arrived in great condition. I’ve heard this album on streaming many times, The National is one of my two favorite bands so I already knew I loved this album. BUT be warned! The vinyl DOES NOT come with a download code even though it says it does on Amazon.

Really great album that sounds sweet on vinyl

Alles bestens, gerne wieder.

O vinil chegou em perfeita condição e a qualidade é óptima

Disco maravilhoso, muito bem gravado, prensagem em 189g de alta qualidade! Item obrigatório para quem gosta dessa banda incrível

C'è qualcosa che mi affascina irremidiabilmente nel sound dei National. Quel'umore umbrattile che caratterizza i loro brani, quel modo di accarezzare la melodia in punta di piedi. Quel saper essere energici senza strafare, quel senso di grazia che pervade ogni loro composizione, quell'atmosfera uggiosa e malinconica che Berninger sa creare come pochi con quella fantastica voce che si ritrova.C'è chi li accusa di aver codificato un sound e di averlo proposto in modo identico album dopo album da "Alligator" fino a "Sleep well beast" (perchè che con l'ultimo "I'm easy to find" qualcosa sia cambiato è cosa che anche i detrattori più accaniti non possono negare). Forse è vero, il sound dei National lo riconosci tra mille altri al primo ascolto. Sicuri che sia un difetto? Io no.Cosa aggiunge quindi questo "High violet" rispetto a quanto la band ha fatto con album come "Alligator" e "Boxer"?Stilisticamente poco, ma aggiunge altre 11 meravigliose canzoni a un canzoniere già incredibilmente emozionante.Forse ancor più sofisticati, ancor più raffinati e minimalisti. E magari chi ha amato il lato più energico della band avrà qualcosa da ridire. Ma i National non sono mai stati una band da watt e tutto spiano; mai stata una band da impatto immediato. E "High violet" è senza dubbio l'album meno immediato della band; ma cresce ascolto dopo ascolto svelando la sua intima bellezza. Un brano tanto per fare un nome? Il penultimo, "England", forse il più smaccatamente ruffiano, fatto apposta per entrare sotto pelle con quel suo incedere progressivo che però non esplode mai lasciandoci in attesa per l'intera durata del pezzo senza però lasciare l'amaro in bocca... un pezzo splendido.Grande album senza mezze misure.