Album Review: The National - Trouble Will Find Me

Here it is, Trouble Will Find Me. My most anticipated and indeed one of the most anticipated albums of the year. The album was never actually planned as such, as the band were planning to have a four year break after the breakthrough commercial success of High Violet which placed The National near the top of the old guard of indie rock - this record however truly establishes them as at the top of their game, that very few bands can compete with. The relaxed composition of this album doesn't exactly break the mold of The National's style but refines it, showing a band slightly less ill at ease with their success. Having said that, the old insecurities still remain as Matt sings of the skeletons beneath his skin and the the trials of life.


For fans of: The Antlers / Sharon Van Etten / Interpol / St Vincent / Arcade Fire

This album in tradition with other National albums is a grower, you plug away at it and discover new aspects, melodies of the songs that resonate musically and emotionally the more you listen and before long are buried in the back of your head; there are no cheap singles or chart monsters that are separated by filler, this is start to finish the prime example of a great album.

The album starts with a good indication of what is to follow; I Should Live In Salt, contains Matt's  vocals straying higher than he has before and feels relaxed, sonically rich and lyrically more personal. On the subject of the album's lyrics, although they are not the best Matt has written, such as those on High Violet and Alligator and Boxer, they are certainly more personal and indeed more relatable - something the band is often targeted on, by writing about the day to day trials of middle aged, middle class men; however the lyrics can resonate with anyone and so often you can find a line that just captures a certain moment in your life then your own words never could. Here Matt's writing is at its peak in songs such as Pink Rabbits, Don't Swallow The Cap and This is The Last Time.

Similarly the vocal melodies are not as insatiably catchy as in High Violet but have a much greater variety such as coupling Matt's vocals with those of Annie Clark and Sharon Van Etten and the mass vocals of Sea Of Love which capture and energy not felt since tracks such as Abel or Mr November on Alligator. The versatility of Matt's own vocals is also tested more than in previous albums, showing its not just 'more of the same'; with his deepest rich baritone of Demons to the floating higher vocals of Pink Rabbits.

This album is all about subtlety, the overall timbre and feel of the record is a rich, dense and lush sound which seamlessly integrates electronic elements such as synths and drum machines with the natural elements of acoustic accounts and the intricate drumming of Bryan Devendorf. These lush soundscapes are best seen on the comparatively stripped down tracks of Slipped and the album's outro Hard To Find. The subtlety continues in the small changes to tracks that just lift them into something more interesting and compelling; for example the 7/4 time signature of Demons, the up tempo shift in Humiliation and also the mini outro of This Is Not The Last Time.

Many of these songs also draw from much of The National's previous work. For example; Fireproof could easily be on Boxer, This Is The Last Time has echoes of Sad Songs For Dirty Lovers, Sea of Love has a big Alligator vibe and energy to it, and Pink Rabbits could sit among the best of High Violet. This gives the album not quite a compilation feel but one that makes this album possibly the most self-assured and coherent example of 'what are The National.'

Its clear this album is very good, not only does it have the trademark gravitas and class that The National have brought to their last three albums, its is still accessible to all National fans and indeed anyone who has just discovered them. This is not boring, middle aged man music but a down to earth, rivetting, intimate and at moments even sublimely profound collection of songs that are some of the best anyone could hope to hear.

What is perhaps most startling is that the National seem to be a band that can do no wrong, after the slightly lackluster debut, every album since has been very good, the last four albums of Alligator, Boxer, High Violet and Trouble Will Find Me have been exceptional, the antithesis of one hit-wonder indie bands and pop acts at the mercy of the music press. This album is a refinement of everything The National have done so far, drawing upon aspects of all of their best works to create an album which although admittedly is not their best album, it does not need to be anything groundbreaking and showcases exactly why the band is one of the best indie-rock bands of the 21st Century and how there is no one close to matching the consistently brilliant calibre of music that they do.

9/10

Key tracks: Don't Swallow The Cap // Pink Rabbits // Sea Of Love // Graceless

(To download: right click link > save link as > save MP3 to computer)




The National are also playing venues in the UK for touring the album. I managed to get tickets for the Manchester gig at the 02 Apollo which sold out in about 20 minutes! There are still a few tickets left for the London shows and are certainly worth the money. I will also do a review of the gig in Manchester in November.

Musings: Provocative Songs

Its that time of year again, that odd time when the long nights are slowly rolling back but winter still has a firm grip over you, an odd time which leaves many looking for comfort or solace in something. For some they find it in other people, family, friends, loved ones. For others things like art or photography. But for me I find it in my iTunes. The kind of songs that make you feel something beyond a catchy riff or a hum-able tune, songs that stir the emotions and memories, comfortable and uncomfortable ones. These aren't necessarily sad songs, but rather fulfilling ones, an intricate mix of the careful poetry of the lyrics and the music itself, which can stretch from vast soundscapes to one man and his guitar. Any song that can make someone feel something like that deserves a good amount of credit, and as a musician and lyricist, if I can ever make anyone experience anywhere similar emotions from a piece of work that I've helped create then it'll be a job very well done.

Quite often these songs find themselves on the end of albums, a closing statement of the work, and quite often a chance for the artist to bear some of their soul to whoever happens to be listening, something that artists do not get enough credit for in my opinion. Here are a few of my favourite provocative 'album closers':

re:Stacks - Bon Iver
Epilogue - The Antlers
Leave Me Alone - New Order
Cymbal Rush - Thom Yorke
Vessels - Tall Ships

Many of these type of songs also find themselves further back into their albums, and are no less as emotional and capable of raising the hairs on the back of your neck. There are dozens of these songs in my music collection but these are just a few of the ones that have been playing in my room of late:

Surprise Ice - Kings Of Convenience
Lippy Kids - Elbow
Woman When I've Raised Hell - Josh T. Pearson
About Today - The National
Champagne Year - St Vincent
Love Is All - The Tallest Man On Earth

Enjoy.

These next few days should also see a flurry of reviews coming soon, including EPs from Test Transmission and Ghost Capsules, as well as Foals' highly anticipated new album 'Holy Fire'.

Mason

Album Review: Sharon Van Etten - Tramp

I first saw Sharon Van Etten in May of last year at Brudenell Social Club in Leeds (pictures above) and was really blown away by the raw sincerity and emotion that she put into her songs. Wanting to know if any of this translated into the recorded version of the album she was touring, I got her album from the merch stall at the back and waited to see if she'd come to the stall and sign it, sadly to no avail. However on the upside her album did very much mirror what I'd heard live, and I always feel the true test of how good an album is, is how well it is translated or changed for the road. This album also topped my albums of 2012 and this review should just about highlight why.



This is Sharon's third album and is far more accomplished and assured than either 'Because I was in Love' or 'Epic' and most people would agree its a step forward. This album is also heavy on collaborations  first and foremost is Aaron Dessner from The National who features on the album and also produced it at his garage studio, giving the album a semi-low-fi feel that suits it far more than any glossy over-production ever could. Other features include Beirut's Zach Condon, Wye Oak's Jenn Wasner and the drummer form The Walkmen. Far from giving the album a disjointed feel, all the collaborations not only add something different to every song and almost give the songs some assurance, a bit like friends helping Sharon through the process.

The album starts with three relatively rocky songs by this album's standards, Warsaw, Serpents and Give Out. All three are very solid songs, 'Serpents' providing a good lead single while 'Give Out' is one of my personal favourites from the album, however afterwards the album looses this assurity. It meanders, drifts and looses the structure and convictions of the earlier songs, but this is what makes the album great, the lack of the conviction and rigid structure, reliance on riffs or big choruses show how genuine some of the songs are. On the subject of how genuine the songs are, Sharon seems to tread the thin line between bluntness and artistic licence in her songs very well, songs such as  'Leonard' 'I'm Wrong' and 'Joke Or Lie' are obviously very dear to her, and it shows in the lyrics. The song 'We Are Fine' is particularly strong as it talks about a panic attack that she had, someone who can put so much of her soul into an album and then call it 'Tramp' is someone with guts, and someone to be respected. Each song on this album paints the picture of a destructive relationship, all the subtleties of the emotions perfectly documented, a whole album dedicated to one break up really shows the power of human emotions, and makes the subject matter unable to be dismissed as trivial in any way.

Musically, the album is a different story. It can be sparse at times, almost in danger of staying into blandness  but in my opinion, being just on the right side. This almost hollow feeling to some songs doesn't ruin it, the vocals and lyrics are the focal point and rightly so and more than carry the album. This album isn't perfect, nothing really is, but I don't think it's meant to be, this album is self-help, the chance to let someone lick their wounds and voice their grief and anger to the world, that deserves credit to bare your soul this openly to critical scrutiny, I doubt this, or any other review will change how Sharon Van Etten feels about her music.

9/10

Mason

My Latitude 2012 - Friday

Despite Latitude Festival being many weeks gone now, I thought I'd recap my Latitude experience of the bands that I saw (and some I wanted to see but didn't quite manage to). The post would be too long if I listed all 3 days worth so I'm going to write up each day individually. Here goes... (links to youtube videos are in blue)

Friday 

This was my 3rd Latitude festival and I think probably the first year I was mature enough to fully appreciate it. I got there on the Thursday morning without trouble, the tent was pitched, the cider was ready and I had my list of bands I wanted to see. These are the bands I saw on the 1st day:

The first band of the festival that I saw was a Scandinavian punk-rock band called 'Ice Age'. There had been a lot of hype about the band and their 'onstage energy', and someone even telling me they had been compared to Joy Division, an interesting prospect. As it turns out I had a right to be sceptical, as for me, and for a lot of people there it didn't live up to the hype. There was some energy onstage but no more than you'd expect from a punk band. The music itself was heavier than I would listen to out of choice but I stuck around for the full set non the less. But, for me it just sounded like noise, loud, critically acclaimed noise. However one thing in the program about them which amused me, was the anecdote that their debut album was 24 minutes long in 12 tracks.

Ice Age - Total Drench

'The Silver Seas' were a band that I just happened to stumble across on my wanderings around the main arena. The atmosphere inside the tent of the Word arena was very welcoming and the band themselves gave a nice set of listenable songs that the whole tent seemed to enjoy, and as it was not very full, there was plenty of space to get in. The band for me were the definition of easy listening but at the side of many of the other bands I saw, not gripping or compelling enough to inspire me to go home and download/buy an album.

The Silver Seas - Dream Of Love

This is one of my dad's favourite bands and out of a sense of duty I went along to watch the set with him. I've never had much time for Destroyer even with numerous tries and I've always found listening to it a challenge, one that I haven't yet thrown myself into, so I was a bit approaches going into it. The songs didn't grab me, no fault of the band, but it just wasn't my thing. However I could clearly see that they were a SERIOUSLY good band and had a very good following of dedicated fans. Sadly I left early to go and see another band but everyone else seemed to enjoy it. I gained a lot of respect for the band later after learning that they were in the crowd to see both Kurt Vile and Dexys, nice to see even musicians of their level still goes to watch bands with us 'mere mortals'.

Destroyer - Leave Me Alone (New Order cover)

Before Latitude I had only given The Antlers a brief listen, in hindsight I should have payed so much more attention. Their set at latitude was one of the best live experiences I've ever had, the sound was massive, expansive reverbed guitars, floating and captivating vocals, deep bass tones and an overall effect that left me speechless. After the festival I went home and bought 2 albums immediately and found that their live sound was so different to that on the albums, in my opinion better live but still very, very good on the albums. This was one of the highlights of my weekend and provided a lot of musical inspiration for the band.

The Antlers - Putting The Dog To Sleep

I'd been told about Punch Brothers by a mate before I came down to Latitude and they seemed an interesting one to watch, by no means your conventional folk band or even your 'indie trash folk' such as Noah and the Whale, they did some far more avant-garde stuff such as a brilliant and inspired acoustic version of Kid A by Radiohead. I was amazed by the electronic and incredibly unconventional and un-acoustic sounds they got out of their instruments. They also did some very good feel-good folk songs, akin to 'Bellowhead' at times.

Punch Brothers - Kid A (Radiohead cover)

I watched Glen Hansard with my tea that day, before I went of in search of bands I'd made plans to watch, and only really chose to stay and watch because of  the convenient chairs nearby. I was initially a bit hesitant as at first he seemed like a typical dreamy-eyed, dreamy-voiced Irishman who was a bit like Ed Sheeran. Thankfully he had much more to him than that and gave a very compelling performance, single-handedly knackering his guitar and his hand in his cover of 'Astral Weeks' by Van Morrison. I particularly enjoyed his more rocky, band-orientated songs, such as those he played when he was part a big Irish folk-rock band 'The Frames' and another band 'The Swell Season'

The Swell Season - High Horses

When I initially heard Metronomy I thought they were a bit dull, more like better than average elevator/lift music than a good indie band. However after a bit of persistence I started to enjoy parts of their album 'The English Riviera". They had were only behind Bon Iver on the bill for the main stage so I had high hopes. I think what happened next was the most disappointing performance I'd ever seen. Firstly they started off with a slightly bad-taste "Its nice to play to a crowd who can understand you", but for me worst of all was that they turned up pissed, not just pissed but absolutely mashed and gave an awful performance. And this pissed me off, as someone in a band I'd like to think I'd give my audience the common decency to give a half decent show and not turn up off my tits, yes I know it's a very 'rock 'n roll' thing to do, but let's face it, they're not a rock band, they're a little indie band from Torquay that sound like their music should be on 'The Sims'.

Metronomy - The Look

Bon Iver: Probably THE reason I was exited to come to Latitude this year, and as it was their only UK festival date this year, it was likely to be very very special. I'd always thought they seemed an odd headliner for the main stage, possibly more suited to the Word arena tent, but any doubts I had went immediately. The crowd were brilliant, nearly everyone knew all the words and sang along, even glares to stop singing and embarrassing myself and him didn't stop me. The sound was beautiful, the songs were so expansive and epic it was hard not to be moved. Even songs from his more lo-fi debut album had been given a reworking into (in my opinion) even better songs. That had a great contrast to when Justin came to the front with his guitar and sang 'Skinny Love' and 'Flume' to an ecstatic crowd. I think this will be one of the gig experiences that I'll always look back on with a lot of fond memories as by the rate their ascension is going at the moment, they'll be too big for me to see again.

Bon Iver - Blindsided

Bands that I missed

White Lies: I was so annoyed to find out probably my two favourite the bands of the festival were on the same billing, but in the end I wasn't going to turn down the chance to see Bon Iver.
White Lies - Holy Ghost

Alt-J: Luca showed me some Alt-J a couple of days ago and I remember seeing them on the program for Latitude. Sadly I was somewhere else, I can't remember where but I'm sure it was something important....
Alt-J - Tessellate

So that was my Friday, a brilliant start to the weekend and it only got better...

Mason.