The National: “High Violet” (review)

The National
High Violet

The National: High Violet

For their fifth LP, the National hasn’t sought to break musical barriers per se. And in this case, that’s certainly not a bad thing; it depicts a group that is hitting its stride and trusting its sound rather than one that has run out of ideas. Indeed, High Violet is the band’s most consistently engaging release to date. The one area in which one sees a difference to their approach is a subtle yet marked augmentation of the band’s instrumental palette. There is even a tie-in to the ‘indie classical’ genre we’ve been discussing so much here. A number of the cuts feature classical instruments and both Doveman and Nico Muhly have lent their arranging talents to the proceedings. The result never feels over-scored, and the backing tracks provide a sense of urgency and drama that often serves as a counterweight for Matt Berninger’s vocals.

The buzz around the record has served to break down some barriers. After several leaks of sonically compromised MP3s of album tracks by naughty web denizens, the band decided to let more legitimate outlets stream the album for free, so that fans and new listeners alike could hear their work in an unadulterated form. It was the first recording ever to be streamed in its entirety from the New York Times’ website. NPR has become a big supporter of indie music with its own “sneak previews” and it countered with a stream and concurrent hyping in advance of High Violet’s release date. It appears that this multifaceted marketing approach has yielded dividends for the band; High Violet debuted at #3 on the Billboard 200.

The National – “Bloodbuzz Ohio” (official video) from The National on Vimeo.

Serena Maneesh gets ambient

Serena Maneesh
Abyss in B Minor

On their sophomore release, Serena Maneesh retains the shoegaze feel of their debut, but tweaks the soundworld to encompass both ambient passages and buzz-toned metal-tinged digressions.

Serena Maneesh picked an unusual locale in which to record. The initial cuts were recorded in a cave on the outskirts of Oslo; later, the band fine-tuned things with Nick Terry (Klaxons, Primal Scream), and René Tinner (Can). The result combines oases of delicacy with potent swaths of distortion laden alt-rock. Fans of groups ranging from Sonic Youth and My Bloody Valentine to Sleepy Sun and Bardo Pond are likely to find much to savor here.