High Violet brings us back into the world that Brooklyn based, Ohio born, THE NATIONAL have created so carefully. Singer and songwriter Matt Berninger is deft at bringing the listener into his melancholic headspace, with 2007's brooding 'Boxer' a pure highlight and still high on my rotations.
The latest offering is not as engaging as its predecessor, but it feels like a step up into the big city. Opening with 'Terrible Love', I was taken to the shining lights and grey-scape of a New York or Tokyo, where the quiet loneliness is deftly juxtaposed to the racing rats. This is heard in the sharp production, the synthetic sounds and deliberate build of each track. The lyrics too have a bigger world feel to them, bringing an outside influence into the generally introspective nature of Berninger's writing. On the whole, it is a restrained portrait of one man surrounded by skyscrapers, the hopeful sounds coming when the songs move outside the urban sprawl (Bloodbuzz Ohio, Lemonworld). Highlights in the haunting 'Sorrow' and opener 'Terrible Love'.
I really hoped that this album would traverse new heights, and at first listen I was disappointed. Yet, the more repeats that play, the more I am finding I am content with exploring the concrete jungle from The Nationals warm, glass house. In all, a good, solid offering without breaking new ground. Like the line from 'Sorrow' suggests, 'I don't want to get over you', The National. This album still has the emotional heart of what I did love, but it seems both of us have moved on in the last few years.
7/10
The latest offering is not as engaging as its predecessor, but it feels like a step up into the big city. Opening with 'Terrible Love', I was taken to the shining lights and grey-scape of a New York or Tokyo, where the quiet loneliness is deftly juxtaposed to the racing rats. This is heard in the sharp production, the synthetic sounds and deliberate build of each track. The lyrics too have a bigger world feel to them, bringing an outside influence into the generally introspective nature of Berninger's writing. On the whole, it is a restrained portrait of one man surrounded by skyscrapers, the hopeful sounds coming when the songs move outside the urban sprawl (Bloodbuzz Ohio, Lemonworld). Highlights in the haunting 'Sorrow' and opener 'Terrible Love'.
I really hoped that this album would traverse new heights, and at first listen I was disappointed. Yet, the more repeats that play, the more I am finding I am content with exploring the concrete jungle from The Nationals warm, glass house. In all, a good, solid offering without breaking new ground. Like the line from 'Sorrow' suggests, 'I don't want to get over you', The National. This album still has the emotional heart of what I did love, but it seems both of us have moved on in the last few years.
7/10
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