High Violet

I kept listening to this album hoping it would eventually grab me. It's not bad, it just doesn't pull me in. I think the issue is, like other bands of this genre, every song is basically built around one riff that repeats over and over - maybe growing or fading, but still the same riff. The riffs are good and at least each song is somewhat unique, but individual songs don't seem to "go anywhere." It didn't help that they started with a lo-fi sound on Terrible Love and I'm not a fan of that style of recording. I liked the second track (Sorrow) much better. I like the singer's voice - reminds me of Mark Sandman from Morphine (particularly on Little Faith). Other songs I liked: Afraid of Everyone, Bloodbuzz Ohio, and England. I'll give it a 3 because I wouldn't mind hearing it again, but don't think I'll seek it out.

Cookie cutter indie with absolutely no distinguishing features. Just choke the air with reverb laden guitars and chiming pianos. Make every song sound like an uphill slog with a cheap emotional payoff as your reward. Fuck this, I actively hate this kind of lazy, faux-sincere hogwash

"Boxer" was their big breakthrough, the album that led to a huge profile of The National in The New York Times containing fly-on-the-wall moments during the making of this album (an instant classic, by the way). My lone critique is that the Alternate Version of "Terrible Love" is miles better than the original that opens the album. And the band knew it, so much so that they released an expanded version of High Violet almost immediately to include the alternate version as a way of correcting the mistake. It's a minor nitpick, and that alternate version has thankfully become the standard. This is the album that firmly put The National on my Top Five list of all-time favorite bands. It's why Taylor Swift and Ed Sheeran sought out the talents of Aaron Dessner to make new albums years after they became established pop stars. Anyone unfamiliar with The National should spend some time watching live performances of this album's closing track, Vanderlyle Crybaby Geeks. It's how they usually end their concerts. Matt Berninger will walk back on stage for the encore performance, often with a glass of wine, and turn the microphone to the audience, compelling them to sing the entire song while he stands back basking in the joy of hearing the crowd throw the words back to him. It became such a staple at National shows that a mic was no longer needed. The crowd knew exactly what their role was to close out the show. We should all be so lucky to know the happiness Berninger feels during this moment of a National concert.

It’s just so dreary. The whole album is tonally and sonically monotonous. I don’t get all the hype about this band. Bland. Blah.

Amazing album from an amazing band. I could probably listen to Matt Berninger sing the phone book and be happy.

Not unlistenable but very boring.

Shit

The National is good, and this album is them at their peak imo. I really have to be in a mood to listen to them though, and someone listening to them off the cuff may not be the best introduction to them.

There was a lot of hype about this. It's kind of okay, but it doesn't exactly get you so excited that you have to publicly shit in a bin, does it?

One thing I find so frustrating about this band is that they will let a song build and build and build... before just leaving it stuck in 2nd gear on a repeated refrain? There's no payoff to any of the tension built in unique arrangements and instrumentals, just kind of a dull fizzle as if the band ran out of steam halfway through writing the song.

I used to listen to this album and Boxer back to back on road trips to and from college in the Midwest. I also have a distinct memory of listening to this album on an 18 hour train ride from Italy to Germany after missing a flight and needing to rush back to meet my girlfriend, who was flying in to visit me at the end of a study abroad program. I don’t know how it would be listening to this for the first time, probably comes off as nicely orchestrated existential whining from a baritone voiced white dude, but that was really a vibe for me during my mid-twenties. I usually reserve 5 star ratings for albums that really blow me away, or are personal favorites that I can listen to over and over (clearly this album falls into the later category).

There were some great moments musically, but I found myself having trouble getting through it. A large part of it is the guy’s voice... at times it sounds like he’s so stoned he’s struggling to even stand in front of the mic, let alone sing. Also, I would describe his singing style as “apathetic” Favorite track(s): “Little Faith” and “Vanderlyle Crybaby Geeks”

As summer turns to autumn, this record should really enrapture that slightly melancholic changing of seasons, but it doesn't. They're a raging herd of dull cunts.

A friend recommended this to me back in 2010 or 2011. I had no idea who they were but was completely blown away by this album. Nothing before or since by the National resonated the same but I listened to this one endlessly for months. I still sometimes put it on when I just need an album I can let repeat. Dark and brooding maybe, but I don't mind that. In fact I think I'm starting to see I'm quite drawn to that because the lyrics are raw and honest and really make you think. The music plays right into it - key piano and strings to punctuate the message, with some distortion (guitars or engineered?) here and there to offset it and give it a foggy feel. Highlights - Terrible Love (sets the tone for the rest), Little Faith (lyrics match a little Catholic revolt inside me?), Afraid of Everyone (love the beat and the lyrics are profound), Bloodbuzz Ohio (the vocals just carry and fit so well with the music), England (love the piano and the orchestral-like backing, as well as the crescendo in the last 100s), Vanderlyle Crybaby Geeks (lyrics and music so sad but so beautiful).

Drab, sad and most offensively of all - deathly dull.

Basically the same song over and over again. Lead vocalist has no range.

When one is muddling through lists of scratched down to-dos and tasks, shopping, returning, hunting, forgetting, as the cold wind bites through the light sweatshirt you protect your fragile torso with, since the heat in your car makes it too hot to keep on your coat, and yet, how cold the parking lot is. The National knows this sorrow, they know the pain of an accumulating hill of failure and restart.

An album that I have loved since I first heard it. The kind of music that either has a personal connection with people or doesn't. Not groundbreaking or earth-shattering, but has an ability to mainline emotion (even if through artifice), which is impressive. Also, will possibly be one of the last complete "albums" in the age of the album.

Do you like greeting card poetry filtered through a bad head cold? If so, golly I have found the record for you! This deals with dramatic build-ups and refrains, but is short on chorus or climax. Exquisite craft, full material.

I don't understand why everyone loves this band so much. In many ways they're Coldplay by way of Brooklyn. I mean it’s kind of the same throughout, not that they sound alike.

Just because Starbucks corporate, the Apple store, and the umbrella company that owns the GAP, choose to blare this album over their storefront speakers -- in an attempt to woo an indie demographic and mask their true capitalism-driven wallet-felching nature -- doesn't mean I (or anyone else) has to hear this garbage before death. It is neither novel nor exemplary.

The best album ever.

It was really lovely. It gave me vibes of the likes of Far Caspian, The Narrative and other indie artists like them. It's music you wouldn't be surprised to hear in Life is Strange (which is an insult for some but more of a compliment for me)

Indy folk sound. Cool. Low voice singer. Great album all the way through.

As good as it gets. Great production, great music and fantastic lyrics.

Un dels nous clàssics. A l'alçada dels millors discos històrics del rock alternatiu. Una banda en un estat de forma sobrenatural. 'Boxer' ja havia deixat emprempta però no ens havia preparat per aquesta bogeria de creativitat i savoir faire. Tampoc després han pogut igualar-lo. Així que només ens queda disfrutar-lo i ser feliços per haver estat coetanis de tal obra mestra

"High Violet" is absolutely, far and away, one of the best albums I've ever heard. I got into The National after "Boxer" came out and HV was the first new release I got to experience. A truly incredible work, 10/10.

Not sure what my favorite National album is, but this one sure is great!

Mope-y, dirge-y and wonderful.

Very good

Quintessential 2010s sound, with very interesting composition and instrument layering. Ladytron meets Arcade Fire! I listened to the live version and Squalor Victoria was splendid.

Really nice indie rock album I'd give it a 9/10

oomf- bloodbuzz ftw

One of the best bands of the last decade.

Absolute classic. One of those albums i know every lyric to and can listen straight through at any moment.

My favourite of theirs is Alligator but this has lots of their best songs on. The production especially stands out to me as being the best fit for his voice and lyrics they've had

This is a band I had never even heard of before! Interesting sounds, was great for background music while I was working.

Big disappointment. Saw them a bunch touring "Boxer" which is a fantastic album; this one plows the same furrow with diminishing returns. They still have their moments ("The System Only Sleeps In Total Darkness", later) but lost a bit of their initial knack for melody and drama from this album onward.

Never understood what made The National so successful when there are quite a few other acts sounding very close to them while having tons of personality to provide listeners with something truly unique, idiosyncratic, original, what have you--acts such as Other Lives, Tindersticks, Interpol, The Walkmen or Grizzly Bear (most of them less commercially succesful)... The thing is, where are those tons of personality when it comes to the National? Is having no clear-cut personality an actual asset to attract the biggest streaming numbers in this day and age? My personal feeling is that a lot of fans of The National are just ignorant of those other bands' albums, and are just happy a well-oiled promotional machine led them to become admirers of Aaron Dessner's outfit first. Of course, there's no way I can confirm or prove this feeling, and I already understand why those admirers could accuse me of bad faith here. Yet nothing is gonna shake that initial impression of mine that The National represent a very safe and conformist vision of what quote-unquote "indie bands" should sound like starting from the tail end of the noughts. It's like that review in this section where the reviewer complains that opener *Terrible Love* is the lo-fi version of the song, instead of its clean alternative rendition found in the deluxe edition of the album. What more can be said? Clearly, some listeners of The National want to "play it safe", quite literally in this particular case. And this is not how I envision art in general, and music in particular. Don't get me wrong, *High Violet* doesn't deserve a 1/5 grade (or even a 6/10 grade according to how I translate my grading when it comes to more general purposes). The lyrics (and the stories said lyrics evoke) are interesting enough, the arrangements are tasteful, the pristine production values are well used, the chord sequences are effective (in spite of the fact that not many risks are taken), and Dessner's deep voice is more than decent overall (in spite of its frequent drowsy inflexions). It's not bad at all, by all means. You even have a majority of clear stand-out tracks in *High Violet*, such as "Anyone's Ghost", "Afraid Of Everyone", "Bloodbuzz Ohio", "Lemonworld", "England" and "Vanderlyle Crybaby Geeks"... But even on those objectively "nice" cuts, the overall effect/affect is, well, a little *bland* at times. Tindersticks have their rough-around-the-edges aesthetics and Grizzy Bear their dreamy atmosphere, counterbalanced by a few convoluted flourishes here and there. Other Lives display cosmic or wild west-inspired moods exploring the concept of the American frontier in breathtaking sonic moves. Interpol have their postpunk influences to liven up the proceedings. And, depending of the time period they released their LPs, The Walkmen could either sound instictively brawly or charmingly retro. But in *High Violet*, The National are just The National. Full stop. Is it even possible to ascribe evocative adjectives to their music? They just play "well-written" and "well-arranged" songs, and as such, they point to the lowest common denominator. I'm not so sure that's a good thing in the long run, to be perfectly honest. At least in the grand scheme of selecting 1001 albums you must absolutely listen to before you die... 3/5 for the purposes of this list of essential album. 8/10 for more general purposes (5+3) Number of albums left to review: 143 Number of albums from the list I find relevant enough to be mandatory listens: 369 Albums from the list I *might* include in mine later on: 218 (including this one) Albums from the list I won't include in mine: 274

I forgot everything about this as soon as I finished listening

Maybe you need to be in a certain mood to enjoy this. I just found out very depressing and not especially interesting.

I always thought of myself of a fan of The National, but revisiting this album I was surprised to find myself incredibly bored. It did prompt me to listen to Trouble Will Find Me and still really enjoyed that one. Idk! Maybe their stuff is too similar and I feel like TWFM does it best.

I just think the national is the most boring and inoffensive band around ... just middle of the road - it's not even bad! it just does nothing for me

with respect to my brothers in demography (white people in their mid 30s), I have tried to see what you see, what you saw, perhaps I just missed the moment back in the day, but this sucks ass

I saw these guys headline a night of the Pitchfork Music Fest in 2010, which would have been on the tour for this album. It’s probably the most boring show I have ever seen. Broken Social Scene played right before them and put on a truly energetic, fun and noisy rock show. When The National came out and started playing their overly introspective, navel gazing brand of depression rock, they sucked the fun right out of the crowd in a way that would make the Hoover Company proud. It’s good to see that wasn’t an isolated incident and their records are boring as fuck, too. Someone should tell these guys they don’t have to use the same tempo for every song.

This is garbage. Low energy forgetful boredom. I think this is the first album out of the 50 or so 1001 albums that I will not listen to ever again. There's nothing here that makes me think, "Maybe I'm missing something".

Shut Up!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Nerd

I feel like this reminds me of something that I can't quite place in style. I really enjoyed this one, it's calm and pleasent and dripping melancholy. Somehow it leaves me with a positive feeling still where a lot of melancholy often leaves me with a depressing one. The vocals and music work well together and it impresses me how the sound manages to both feel fragile and simple/clean and somehow also like an epic open soundscape Standouts Anyone's Ghost Afraid of Everyone Runaway 5/5

Stylish and intelligent, this is world-class art-rock, by a band that can be aptly described as the American Radiohead (though they have stayed more accessible [maybe that's the American part]). The use of strings is well-judged and highly additive. The consistent mood – wry, subtly haunting and contemplative – throughout the record would feel cinematic if it weren't so novelistic (thanks to the literary merit of the lyrics). One feels swept along by the first several cuts, all of which are highlights (especially the irresistibly hooky "Bloodbuzz Ohio," argubaly the strongest banger of their career), and the level of excellence is mostly sustained right through the to the end, which is quite a soft landing, with a mood that's both whimsical and vaguely elegaic. One can quibble about which is their best reocrd (Boxer belongs on this list, certainly, and several of them deserve a shout, including the most recently released), but this one is surely near the top. Rounding up for being a homer (both Brooklyn and the 'nati).

Absolutely brilliant

One of my favourites.

This is an album I know pretty well. A friend of mine tried getting me into The National for a bit back in the late aughts, and in 2011, he finally succeeded. I bought this album in the late spring of that year, at a time when I was still reeling from a breakup, and generally feeling like a piece of shit. I remember listening to this on my way to a Manchester Orchestra/Cage The Elephant concert, which was either a great or a terrible way to mentally prepare myself for Manchester Orchestra. I’ve liked this album and the band for over a decade, but I usually reach for Trouble Will Find Me when I’m in the mood for The National, so this is my first time to revisit High Violet in a little while. While this is not my favorite album by The National, it’s absolutely fantastic. Matt Berninger’s baritone voice seeps into every corner of this album, creating a mood that oscillates between haunting, achingly sad, and reflective. The arrangements throughout the album are beautiful as well. There are way too many great uses of instruments to list out on this album, but the sound is never too busy or muddled, and it’s surprisingly cohesive from start to finish. On top of that, there’s not a bad moment on this album at all. Every song is fantastic, and they all fit wonderfully into this album. I’d go with “Bloodbuzz Ohio” and “Terrible Love” as my favorite songs on this album, but after that, it’s impossible to choose what’s the best. I know this album pretty well, but each time I listen to it, there’s something new that sticks out to me that I hadn’t noticed before. High Violet is an absolute masterpiece, and it’s a perfect showcase for why so many artists want to work with these guys. The songwriting is raw and full of emotion, and while I tend to be pretty selective about the melancholy music that I listen to, I’m always in the mood for The National.

Melancholisch, perfekt für Kunst und nebeliges graues Oktoberwetter

The National are one of my favourite bands. I toyed around if there was a world where I wasn't going to give this a 5 but in the end there was not.

a great band. This is their peak!

One of my favorite albums of all time, and my favorite album of one of my top three or so favorite bands of all time. I’m sure The National isn’t everyone’s cup of tea. Matt Beringer’s vocals especially take some getting used to. While the band features two incredible guitarists, there’s pretty much zero guitar solos in their discography. Then there’s the lyrics: Matt writes some of the bleakest and depressing stories written for songs in rock history. “Sad Dad Rock” was basically invented by the National. God I love them. High Violet came after the band’s album Boxer, which finally gave them enough acclaim and financial success to keep going as a band (their big payday would come ~14 years later via Taylor Swift collaboration). I became a fan after Boxer, and High Violet was the first new album I listened to as a fan of the band. I loved Boxer and its predecessor Alligator a lot (still very much do), and I remember having sky high expectations for High Violet. Upon first listen, I was underwhelmed. It grew on me a little to the point that I liked it quite a lot, but I thought the band released a superior album a few years later in Trouble Will Find Me (it’s also still tremendous, a masterpiece in my opinion). Slowly, over dozens of listens to all of their albums over the years, High Violet kept revealing things to me. Songs like Runaway and Sorrow were afterthoughts at first, maybe even skippable, but I found them becoming earworms over time. I knew the ending of the album was outstanding: England to Vanderlyle Crybaby Geeks is one of my favorite closing two tracks of all time. What took me a long time to realize is that every single track is a masterpiece in some way. Lemonworld is another track that is sort of a deep cut, but has become one of my favorite songs. Bloodbuzz Ohio is often thought of as The National’s best song, and I love it, but it’s not even my favorite on the album. Terrible Love is probably the song most responsible for my slow taking to the album: I just didn’t care for it at first. After seeing the band live though, I found new energy in that song that made me realize how brilliant it is. It’s an incredible opening track. I would guess that the reviews will be tepid for this, but it’s an easy 5 stars for me. I wouldn’t suggest that everyone listen to it 50+ times like I probably have, but I do think it rewards multiple listens as well as any album I can think of. It’ll eat your brains.

5 - Listened to this a lot. I just vibe with The National and always have. I think I heard an interview about the fact the dessner brothers create the music and then Matt Beringer comes in to do the lyrics and it always felt like a great collaboration. It just fits into everything I love about music for me. It's not even my favourite album of theirs either.

"High Violet" is the fifth album by American rock band The National. Indie rock and post-punk revival. That fits. The album was self-produced and had wide-spread critical acclaim. The National are Matt Berninger (lead vocals), Aaron Dessner (guitar, keyboard), Bryce Dessner (guitars), Bryan Devendorf (drums) and Scott Devendorf (bass). Commercially, the album hit #3 in the US and #5 in the UK. "Terrible Love" opens with a slow beat and a fuzzy electric guitar. The songs build throughout with the vocal chorus and backing vocals. The pace picks up and the music starts to mimic the vocals with a feeling of anxiety as Berninger sings about the anxiety of starting a family. "Anyone's Ghost" continues the darker edge atmosphere. Strings and female backing vocals are added. It's about a relationship where there is love but she doesn't want to be with him. The great Sufjan Stevens contributes backing vocals and plays a harmonium in "Afraid of Everyone." There's a jagged guitar. Another song where the music builds with a repeating chorus. The drumbeat begins "Bloodbuzz Ohio." Berninger's deep baritone comes in in an almost emotionless state. The piano carries the melody. The unforgettable lyric "I still owe money, to the money, to money I owe." Drama builds as going back home more in debt doesn't sound like fun. One the best songs of 2010's and my favorite National song. A deeper track that is another favorite is "England." A piano and plodding bass. Strings are added. Horns are added. A very catchy chorus. Berninger initially blames 4AD (their English label) for his writer's block but realizes it's him. This is a very tight band. The instrumental (horns, strings) and vocal arrangements are intricate and terrific. The lyrics are mostly dark dealing with depression, bad relationships, anxiety and debt. Most of the songs beautifully build from the start to the end. There's a lot of catchy vocal choruses. This a compelling listen and a great album, probably their best.

Oh wow that was simply fantastic. So emotional in the best way possible and with such passion. This reminds me so much of Arcade Fire, so absolutely count me in.

I’ve always heard that this was an amazing album. I’ve heard Bloodbuzz a ton, but nothing else. But this was great. I really enjoyed it.

MEGET nem 5er, den her plade er en af mine all time faves

Absolutely fabulous. Didn't know of this band until Glastonbury this year i am ashamed to say but so glad I have discovered them now. Sheer class

Loved this one! So, so good. Will definitely be listening to it again.

So many great songs on this album!

One of the albums I listen to often. I discovered it because "sorrow" was used in a Ragnar Kjartansson art film, where he asked the band to play the same song for 6 hours straight. It was amazing; and the album is too. To this day the only The National album I've listened too but I should explore more!

Great. Just really great 4.5

In the 80s bands worried about selling out and this resulted in some very tight music. In the 00s coolness factor seemed less important for many bands and the National is one such example. Lyrics are pretty terrible and they hit all the right notes with the right kind of instruments for maximum impact ..would all be very boring except that the quality of the songs is just very high. So still like this album a lot (2010: 9/10, 2024: 9/10).

It's been a while that I listened to it, and I'm equally impressed and moved as before. Not enough stars can be given to this album.

I love how music has the ability to transport you to whatever memory you’d forgotten. This album tastes like warm aperol spritz and holidays. Music is great and The National are so good.

Un sentito grazie ai The National per essere, da ormai cinque anni, la mia band-da-piantino di riferimento. Queste 5 stelle sono per voi. Thank you guys, you never miss. ❤️

Sort of forget about this one with how much I like Boxer and Trouble Will Find You -- but damn, it's just as good.

savrseno za blastat dok lezim na podu i buljim u strop A+

Didn’t listen to the whole thing but loved what I heard

Afraid of everyone, Conversation 16 England

I had not heard them before. What a great band!

Dark, brooding and I loved every second. Great album.

Another discovery. Artfull modern sort of post-punk

1. Lyrics The lyrical prowess of Matt Berninger shines throughout "High Violet." Darkly evocative and rich in metaphor, Berninger captures the anxieties of modern domestic life with characters and vignettes crafted in loving detail[3][5]. The shadowy metaphors set the tone, with themes ranging from love to existential dread[3]. 2. Music The music in "High Violet" is a visceral experience, characterized by its depth and color. The album is not instantly accessible, lacking an equivalent to the widely acclaimed "Fake Empire"[6]. The sound is both triumphant and reassuring, with Bryan Devendorf's drums propelling the album[2][4]. 3. Production The meticulous production of "High Violet" elevates it to a sonic masterpiece. The color and depth of the music are integral, touching the heart and soul with a profound emotional impact[1][2]. The album's cohesive sonic palette creates an immersive experience, enhancing the impact of Berninger's lyrics[1]. 4. Themes The themes in "High Violet" resonate with universal emotions. Berninger's lyrics explore love, fear, and existential angst, weaving a tapestry that reflects the complexities of the human experience[3]. The album's thematic richness adds layers of meaning, making it a compelling and introspective journey. 5. Influence "High Violet" has left an indelible mark on indie and alternative music, influencing subsequent artists. Its unique blend of lyrical depth and musical intricacy has set a standard for emotionally resonant albums[1][4]. Pros and Cons Pros Lyrical Brilliance: Berninger's lyricism is a standout, offering a profound exploration of the human psyche. Immersive Sound: The album's music and production create a captivating and immersive sonic experience. Influence: "High Violet" has had a lasting impact on the indie music landscape. Cons Accessibility: Lack of an instantly accessible track akin to "Fake Empire" might make the album less approachable for some listeners.

This is an amazing album. It was the first National album I heard that hooked me on their music and then I went back through their catalog from here. Great songwriting and lyrics throughout. It's a 5/5 for me. Standout Tracks: Terrible Love *, Anyone's Ghost, Little Faith, Afraid of Everyone, Bloodbuzz Ohio *, Lemonworld *, Runaway, Conversation 16 *, England *, Vanderlyle Crybaby Geeks * * I like nearly every song on here, so the ones with *s are standouts of standouts.

Such a unique sounding band that doesn't seem to fall into a gimmick of that uniqueness.

4.5/5

National- I actually never heard this one before. I really love the sound of this record. There are some awesome textures and they all gel really nicely together in the mix. After avalanches and fatboy slim this was super refreshing. 4.5

Really nice. Love this band and this album. I like boxer and alligator more than this one. I like runaway. 4.5

This album is so so good. Sorrow has always been my favorite lyrically. Afraid of everyone and blood buzz are great too. 10/5

awesome

This album was incredible. 5/5

Skítugt sound í hljóðfæraleiknum - fíla það ekki. Einhver tilgerð í þessu. Þetta á við "Sorrow". Önnur lög, t.d. Anyone's Ghost, mun betri. Þessi plata vinnur mikið á - Mjög góð.

The National maken muziek voor mannen in een midlifecrisis. De teksten portretteren veelal zoekende figuren die ergens waggelen tussen hun existentiële crisis en verdovende middelen. Muzikaal is het de strakke drums die de zenuwachtigheid waarmee deze mensen in het leven staan tot uiting brengt. Het bariton geneuter van Matt Berninger is het stemmetje in uw hoofd dat willekeurig neurotische hersenkronkelzijsprongen maakt. Ik ben ergens in 2009 een fanboy geworden met Boxer en Alligator, de 2 voorgangers van deze, veelvuldig op repeat. Volgens mijn last.fm statistieken staat nog steeds The National op nummer 2 van mijn meest beluisterde bands aller tijden. (Op 1 staan The Beatles met een redelijke voorsprong) Ik keek naar mini-docu's over deze band, zocht zowat alle rariteiten en demo's op Youtube. Ze werden de soundtrack voor mijn uniefjaren. 2 paar broers en een melancholische dronkaard hadden van hun druilerige indierock precies anthems voor het leven gemaakt. Queue in High Violet. Ik sprong een gat in de lucht met de singles. Ik viel weer uit diezelfde lucht toen ik zag dat die gasten aan het doorbreken waren. Het stuur gedraaid richting uitverkochte megazalen. Studio Brussel dat Bloodbuzz Ohio en Terrible Love platdraait. Van extreem vroeg geprogrammeerd staan in de marquee naar een topslot op de mainstage. Ik had het niet zien aankomen. Ik dacht dat ze van de grootteorde van Okkervil River of iets dergelijks gingen blijven. In 2011 op Main Square Festival een voor mij heilige indiedrievuldigheid The National - Fleet Foxes - Arcade Fire live mogen aan het werk zien, het was wonderbaarlijk. Ze konden het, en met de High Violet nummers live tot mij te nemen, had ook die plaat een plek veroverd in mijn hart. Vanderlyle volledig onversterkt over een wei horen galmen, is gewoon pure magie. The National, je bent er voor of niet. Ik was in die periode enorm grote voorstander. Met de platen erna begon ik mijn voeling met hun werk wat te verliezen, maar de singles waren nog altijd uitstekend. Nu is het zo ver gekomen dat ik de singles soms gewoon op de radio ontdek. Ze zijn geen reden meer waarom ik per se naar een bepaald festival zou gaan. Hardcore fanboy af dus, maar hun oude werk zit nog wel in de rotatie hier thuis, waaronder deze doorbraakplaat High Violet.

Star ratings suck

While Boxer and Alligator may be better, this record feels most urgent. It's also around three bands peak. After this, everything has been rather boring. This is peak sad dad music.

It was great! I loved the first song. Very dreamy, modern, the sort of music I listened to a lot of back then.

The National are one of the best bands of their generation. Maybe THE best. Berninger paints the most vivid pictures of mundane life. Dessner a genius at building the slow tension, Devendorf unquestionably one of the greatest drums of all time. No they don’t all have to be mental drummers. Brilliant from start to finish, lyrically more inward turned, neurotic even. Musically subtlety gorgeous and melodic. 9.1/10

This is the first album that I’ve gotten from an artist that I’ve seen live. I really enjoy all the new music that I’ve heard by doing this, but it’s also nice to get something familiar sometimes. I’m hugely biased here, The National is probably my favorite modern rock band and this might be their best album top-to-bottom. I often find one singer hard to listen to for a full album, but I never have that issue with Matt Berninger. His voice is just great, I feel like it comes across as soothing despite a lot of songs that are a bit chaotic overall. A review I saw described the guitars on Terrible Love (the first song) as “buzzy and atmospheric”, and I feel like that actually describes the sound of the album more broadly. The sound is full and grand, but there’s this buzzy undertone that I love. I get the sense that the Dessners are brilliant musicians too. There’s so many great songs on this album, I’m adding basically the whole thing to my playlist. Terrible Love is a powerful opener, Bloodbuzz Ohio might be my favorite song of theirs overall, Runaway is more understated but fantastic. If I had to be picky about one thing I’ll say that the closing song could’ve been better chosen, but I’m getting really picky about an incredible album. An album that’s already in my rotation and will definitely continue to be. Favorite song: Bloodbuzz Ohio Other: Terrible Love, Sorrow, Anyone’s Ghost, Afraid of Everyone, Runaway, Conversation 16, England

Another great album that I've listened to before.

How nice to get High Violet, one of my favourite albums by one of my favourite bands, on the day the band releases their newest album, Laugh Track. While LT and the companion album that preceded it seem to show the band's magic start to fade, HV is a wonderful reminder of why they were one of my favourite bands to begin with. Strong melodies, charming instrumentation, lyrics that bounce between enigmatic and revealing...this is the National that I fell in love with.

If I'm in the mood, 5.

Top I like it!*

One of the greatest

the national is good.

Another of my personal all time albums. This came out my Junior Year of college and was probably what I listened to most that year. While Boxer is still my #1 National album, the highs here rank among my favorites. 4.5/5