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Track List
01) Terrible Love
02) Sorrow
03) Anyone's Ghost
04) Little Faith
05) Afraid of Everyone
06) Bloodbuzz Ohio
07) Lemonworld
08) Runaway
09) Conversation 16
10) England
11) Vanderlyle Crybaby Geeks
01) Terrible Love
02) Sorrow
03) Anyone's Ghost
04) Little Faith
05) Afraid of Everyone
06) Bloodbuzz Ohio
07) Lemonworld
08) Runaway
09) Conversation 16
10) England
11) Vanderlyle Crybaby Geeks
4:39
3:25
2:54
4:36
4:19
4:35
3:23
5:33
4:18
5:40
4:12
Data Complete 80%
Total Rating
Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Alternative Rock
Intense
Rock/Pop
---
Medium
Album
0 copies
Album Description
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High Violet (2010) est le cinquième album studio de The National, publié en mai 2010 sous le label 4AD.
Auto-produit par le groupe avec l'aide de Peter Katis, l'opus a été enregistré entre leur studio de Brooklyn et les Tarquin Studios dans le Connecticut.
La pochette présente une sculpture de l'artiste Mark Fox intitulée « The Binding Force ».
Une édition étendue, parue le 22 novembre 2010, inclut un second disque composé de titres inédits tels que « You Were a Kindness » et « Wake Up Your Saints », ainsi que des versions alternatives, des faces B et des enregistrements live.
User Album Review
Brooklyn’s The National are the absolute antithesis of an overnight success. Together for over a decade, the group’s slow ascent to international acclaim has been emotional. While several critics have clicked with albums of swollen heart and bruised soul, a handful have mistaken deliberate, delectable languor for dismissible listlessness. But those who’ve embraced Matt Berninger’s baritone, and subsequently each fascinating detail that trails in its wake, have discovered a band for life – for love and loss, euphoric highs and exhausting lows. For everything, always.
2005’s Alligator – its Daughters of the Soho Riots still empties the air from this listener’s lungs every time – marked the moment The National broke underground (2010 parlance: ‘blogosphere’) cover, and they’ve refined and arguably improved their output ever since. High Violet is the quintet’s fifth long-player proper (and highest of profile yet), following 2007’s excellent Boxer, and again features orchestral embellishments courtesy of Clogs’ Padma Newsome. It is being talked about in certain circles as a potential album of the year, but this is no release to shout about from the rooftops in the hope of attracting strangers. Its charms are subtle, its grip soft and easily shrugged by those who choose to pay it only passing attention. Live with it a while, though, and High Violet rewards patience with songs that colour one’s waking existence, becoming vivid night-time narratives when curtains are drawn.
Berninger’s lyrics, though tonally divisive, are incredibly engaging. He’s no Steinbeck, no Kerouac, despite endorsements from the most feverishly faithful; but his stories, delivered with wrenching sincerity, form the first point of entry for newcomers awaiting enlightenment. High Violet is an album characterised largely by absence, and displacement – of being someplace other than ideal. This extends from simple geography – the overseas lover of England’s vexed protagonist, the big-city claustrophobia of the luscious Little Faith – to the afterlife ruminations of Anyone’s Ghost, a song that blindsides with its switch from aloof coolness to an affecting concession of continued allegiance after death parts its players.
To the untrained (read: unfocused) ear, High Violet may sound pedestrian. But such drama lies in the richly textured nuances that this album ultimately plays like a movie you’d never dream of breaking from, whatever the reason. Set fire to the theatre and The National will play on, those who paid attention earlier again foregoing comfort for captivating beauty, until the final flames flicker into stillness.
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User Comments
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High Violet (2010) est le cinquième album studio de The National, publié en mai 2010 sous le label 4AD.
Auto-produit par le groupe avec l'aide de Peter Katis, l'opus a été enregistré entre leur studio de Brooklyn et les Tarquin Studios dans le Connecticut.
La pochette présente une sculpture de l'artiste Mark Fox intitulée « The Binding Force ».
Une édition étendue, parue le 22 novembre 2010, inclut un second disque composé de titres inédits tels que « You Were a Kindness » et « Wake Up Your Saints », ainsi que des versions alternatives, des faces B et des enregistrements live.
User Album Review
Brooklyn’s The National are the absolute antithesis of an overnight success. Together for over a decade, the group’s slow ascent to international acclaim has been emotional. While several critics have clicked with albums of swollen heart and bruised soul, a handful have mistaken deliberate, delectable languor for dismissible listlessness. But those who’ve embraced Matt Berninger’s baritone, and subsequently each fascinating detail that trails in its wake, have discovered a band for life – for love and loss, euphoric highs and exhausting lows. For everything, always.
2005’s Alligator – its Daughters of the Soho Riots still empties the air from this listener’s lungs every time – marked the moment The National broke underground (2010 parlance: ‘blogosphere’) cover, and they’ve refined and arguably improved their output ever since. High Violet is the quintet’s fifth long-player proper (and highest of profile yet), following 2007’s excellent Boxer, and again features orchestral embellishments courtesy of Clogs’ Padma Newsome. It is being talked about in certain circles as a potential album of the year, but this is no release to shout about from the rooftops in the hope of attracting strangers. Its charms are subtle, its grip soft and easily shrugged by those who choose to pay it only passing attention. Live with it a while, though, and High Violet rewards patience with songs that colour one’s waking existence, becoming vivid night-time narratives when curtains are drawn.
Berninger’s lyrics, though tonally divisive, are incredibly engaging. He’s no Steinbeck, no Kerouac, despite endorsements from the most feverishly faithful; but his stories, delivered with wrenching sincerity, form the first point of entry for newcomers awaiting enlightenment. High Violet is an album characterised largely by absence, and displacement – of being someplace other than ideal. This extends from simple geography – the overseas lover of England’s vexed protagonist, the big-city claustrophobia of the luscious Little Faith – to the afterlife ruminations of Anyone’s Ghost, a song that blindsides with its switch from aloof coolness to an affecting concession of continued allegiance after death parts its players.
To the untrained (read: unfocused) ear, High Violet may sound pedestrian. But such drama lies in the richly textured nuances that this album ultimately plays like a movie you’d never dream of breaking from, whatever the reason. Set fire to the theatre and The National will play on, those who paid attention earlier again foregoing comfort for captivating beauty, until the final flames flicker into stillness.
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