The National

Album: ‘I Am Easy to Find‘
Year: 2019

Ever since I fell in love with their album ‘High Violet’ I feel like I poisoned myself toward anything they put out. I know I addressed this when I listened to their last album and now I’m ready to embrace it: I’ve ruined myself for this band. But, knowing this, I’m making an effort to experience them the way they should be: as a band that can do anything they want and pull it off with grace.

The thing I’m most surprised with when it comes to this offering is how the MRAs haven’t come out en masse in protest as this is a record designed and built to empower female artists that might not be in the scope of the band’s fanbase. The album features the likes of Lisa Hannigan, Sharon Van Etten, Mina Tindle, Gail Ann Dorsey, and Kate Stables in roles that, at times, overshadow their hosts but still create great music. I don’t know why I’m so shocked by that as all of these women make good stuff. But the biggest thing is that, though the tone of this album is a departure from what I’m used to, doesn’t mean I should approach it with contempt. I embrace this album with open arms and a repeat listen in the not-too-distant future.

Track of Distinction: “Quiet Light” is one of their quintessential mixed-tone and jumbled tempo masterpieces that has become one of their hallmark sounds.

Playing Catch-Up: Part XVIII

Artist: Queens of the Stone Age
Album: ‘Villains‘
Year: 2017

For a band who, one paper, can still bring the heat, I’m not sure why this album seemed like such a let down. Perhaps if someone rages for too long you start to think there’s something wrong and feel sorry for them instead of thinking their just some hardcore asshole. There are elements of this album that resonate–their lyrics, their drums and bass lines–but everything else feels hollow. I might need to giev this one another spin to give it a fair shake.

Track of Distinction: “The Evil Has Landed” is good despite the fact my copy had messed up audio. This is a quintessential QOTSA track if there ever was one.

Artist: Tyler, The Creator
Album: ‘Scum Fuck Flower Boy‘
Year: 2017

I don’t think Tyler ever wants to grow up. Since rapping about his immature insecurities and his flaws pay the bills, why grow and adapt as an artist? Luckily, his talent more than makes up for it and this album comes off with more polished than it really earned. Some day, we will look back at a time when two rappers–Kanye and Tyler–kind of broke the mold and gave us a rapper we weren’t ready for and who really wasn’t ready for us, but delivered greatness.

Track of Distinction: “November” reminds us that growing up is scary, maturing is hard, and fame makes everything harder than it should be.

Artist: Foo Fighters
Album: ‘Concrete and Gold‘
Year: 2017

Dave Grohl has become fully self-aware and this album is making us all pay the price for that. This album wasn’t a Foo Fighters album whatsoever; it was a Grohl solo project that he needed help on and it turned into something that doesn’t reflect what they stand for. Perhaps they want to become a pop-rock band and go on something like the Warped Tour as the old guys trying to catch the attention of a younger generation that doesn’t deserve them. C’mon, Dave, we deserve better than this.

Track of Distinction: “Happy Ever After (Zero Hour)” wasn’t awful. It kinda reminds me of stuff from ‘There’s Nothing Left to Lose’ with a hint of Radiohead mixed in.

Artist: The National
Album: ‘Sleep Well Beast‘
Year: 2017

I was told not to expect much from this album, so I don’t know if it was my low expectations that made this album seem dynamic or if it was that good? This band has the handicap of having me compare everything they do to ‘High Violet,’ their best album and one of my personal favs. But this one held its own giving me what I wanted and expected from them–nothing too flashy, Matt’s droning, hypnotic vocals, plenty of dark metaphors to wrestle with. In all, a solid album that earned another spin in the near future.

Track of Distinction: “Cairn at the Liquor Store” is just excellent and even kind of fun to listen to.

The National

Albums:
‘The National‘ (2001)
‘Sad Songs for Dirty Lovers‘ (2003)
‘Cherry Tree EP‘ (2004)
‘Alligator‘ (2005)
‘Boxer‘ (2007)
‘The Virginia EP‘ (2008)
‘High Violet‘ (2010)
‘Trouble Will Find Me‘ (2013)

Listening to The National all I can think about is pink and brown. Yes, that has meaning. When you study basic color theory and look for complimentary colors, the rule is to look across the color wheel for match ups. So, though two colors may not seem complimentary on paper or in the mind’s eye, once combined they can have an oddly soothing effect, much like pink and brown do. They look like they shouldn’t go together, but they do. Much like the music of The National, there are elements that, on paper should not sound right together, but they blend in a way that is simply magic.

Vocalist Matt Berninger’s voice is deep, soft, and a bit haunting, which makes for a dynamic sound. However, his bandmates try and pair it with songs that lean more toward the popular side of the Indie Rock spectrum for an experience that is hard to describe. Honestly, there are sounds all over the map, from the almost cheerful to the depressing (Note: I love the depressing song, so it’s not a dig). His voice seems to lend itself to the latter sound but the band, hoping for a complimentary even-keel, pair it with something completely different. The elements stare at each other from opposite sides of the wheel and we, the listener get to be in the middle. For most of their catalogue, there’s no place better.

Track of Distinction: ‘High Violet’ is the band’s best offering by far (note the lack of qualification on that because it’s a fucking fact) and the album’s best track is debatable (though most people go straight for “Bloodbuzz, Ohio“). However, I find that “England,” with it’s infectious and memorable piano hook, really stands on its own as a showcase-level track that epitomizes the band at its very best. I’ll just ignore it’s casual use in an iPad commercial.