Open Web Player
(Reviewed by Connie's son)
*This review is largely subjective. Opinions may clash like socks and flip-flops.*
"For the 12 years we've been making records, we've always been trying to prove something, and avoid being labeled as dad rock, or depressing," Berninger says. "We figured out how to fight so much over the years... This time around, we didn't care."
Matt Berninger revealed in an article posted by Billboard on May 20, 2013 that the band had been trying to fight a certain label for years. On The National's new album, "Trouble Will Find Me," the band has been alleviated of the pressure that was especially prominent during the making of their previous album, "High Violet." In addition to having a better time making the music found on their newest album, they've also done much more experimenting. In the end, this album sounds just as good as The National has always sounded, but with a few new tricks up its collective sleeve.
...And here comes the ridiculously long track-by-track segment.
----SONG 1: "I Should Live in Salt"
Written in [C Major], the song opens the album pleasantly. The song doesn't seem like much to swoon over immediately, but after multiple listens, the track unfurls and shows its structural trickery, instrumental flourishes, and lyrical quality.
ANALYSIS: One thing stands out in the track immediately: a tricky extra beat added to the song. The repeating progression feels like 4/4, 5/4, 4/4, 4/4. However, it isn't to extremely jarring effect, and it's certainly an interesting touch. After enough listens, it becomes very natural feeling and the listener will most likely forget that the extra beat is there (Arcade Fire's "Modern Man," anyone?). Sufjan Stevens' synth flourishes add nicely to the song, especially at the end, where those flourishes are key. There's also a moment where a touch of accordian is used to good effect during one of the verses (not profound, but oddly memorable anyway). Perhaps the most memorable part of the song, however, is the booming chorus, which unearths the previously hidden gems of Matt Berninger's vocal range (the result of quitting smoking) and echoes in the listener's head after repeated listens. It lords over the song, like a reigning, and maybe regretful, king.
VERDICT: It may not seem like much at a first glance, but the song is hiding a lot of qualities that deserve to be noticed. Those qualities make this song a worthy opener. Watch out for the grandiose, bathos-laden chorus.
STAND-OUT LYRICS:
1.) "Learn to appreciate the void / You should know me better than that"
2.) "I should leave it alone but you're not right"
3.) "We have different enemies / You should know me better than that"
----SONG 2: "Demons"
Written in [G Major], the second song is somber (and somewhat sinister sounding) but surprisingly rattling on the first listen and an extremely bold move as the first single. The time signature completely kicks 4/4 in the face, yet once the listener becomes accustomed to it, the numbness of difference subsides and the song reveals its beauties and solidifies its position as one of the most important songs on the album. Also, the lyrics.
ANALYSIS: The listener's brain may be counting in 4/4 on the first listen, but before they know it, they're lost. The song blindsides the listener with 7/4 throughout, challenging their brain to follow along. After several rounds, the song grows on the listener, and the 7/4 time becomes as plain and pleasant as day. The verse chord progressions are mostly [G], [D], [G], [D], but when unexpected [C] and [Am] chords are thrown in the mix, it almost feels like the song has shifted gears, somehow. That simple change-up is arguably the most memorable part of the album, besides its surprisingly effective lyrics. The transition between the second chorus and the bridge does feel a tad strange somehow, even after multiple listens, but it serves well enough. Interesting flourishes in this song include some staccato strings on the bridge and an interesting flute section during the second verse. Arguably, The most memorable part of the song takes place on the second verse where the [C] and [Am] chords are thrown in amidst the [G] and [D] chords and Matt Berninger begins "Huddle with them all night long ..." It's so simple, but it really, really works.
VERDICT: It's definitely not ear candy to begin with, but once the tricky 7/4 begins to feel natural and the lyrics become noticed and memorized, it's a beautiful, high-caliber song and an unexpected single (and unexpected earworm). It's an absolutely essential listen, and all things considered, it may be The National's most daring song ever.
STAND-OUT LYRICS:
1.) "I can't fight it anymore / I'm going through an awkward phase"
2.) "All my drowning friends can see / Now there is no running from it"
3.) "Huddle with them all night long / The worried talk to God goes on"
4.) "I sincerely tried to love it / Wish that I could rise above it"
5.) "When I walk into a room / I do not light it up / F***"
----SONG 3: "Don't Swallow the Cap"
Written in [F Major], the third song is the second single and is more immediately enjoyable than the previous song on the album. The song is a good listen every time, although it doesn't feel as wholesome as the other songs, in a way. With interesting flourishes and very clever lyrics, this song provides a fast, fun contrast to the previous and following songs (and with fantastic drumming by Bryan Devendorf).
ANALYSIS: There's nothing terribly fancy about the structure here: basic 4/4 time with pleasant chord progressions. Really, the song's strength lies in its flourishes and lyrical prowess. Quick, rapid-fire staccato strings grace the song throughout, giving the song a rather uplifting feel. Additionally, Sufjan Stevens' synths work well on this album, especially near the beginning. The lyrics here are some of the strongest on the album, which is saying quite a lot, taking into account the lyrical strength throughout this album (and The National's previous albums). The title itself might be a reference to Tennessee Williams who choked to death on the cap of a bottle, but the lyrics seem tell a different story, whatever it may be. Somehow, the most memorable part of the song seems to be at the beginning of the outro right after Matt Berninger sings "... Or Nevermind" at around 3:36. There's something about that part, possibly Bryan Devendorf's intensified drumming, that really sticks.
VERDICT: Fast, immediately enjoyable, and maybe more fitting of a single than the previous song on the album, this song adds to the album nicely with sharp lyrics and fantastic flourishes throughout. Not the album's greatest song, but the album definitely wouldn't feel the same without it.
STAND-OUT LYRICS:
1.) "Tiny bubbles hang above me / It's a sign that someone loves me"
2.) "I have only two emotions / Careful fear and dead devotion"
3.) "I see all the ones I wept for / All the things I had it in for"
4.) "When they ask what do I see / I say a bright white beautiful heaven hangin' over me"
5.) "I need somewhere to be / But I can't get around the river in front of me"
----SONG 4: "Fireproof"
Written in [G# Minor/Ab Minor], the fourth song and shortest song on the album isn't immediately recognizable as one of the best. When the unbelievably chilling chorus comes, however, it's immediately apparent. With absolutely spot-on, haunting flourishes, some tricky rhythms in the beginning, and fantastic arrangements all around, there's nothing like the two 2 minutes and 58 seconds this song displays.
ANALYSIS: In the song's intro, there's a tricky melody being played on the guitar. It's initially a little confusing to count out, but once Matt Berninger begins to sing, things begin to align. While the instrumentation at this point is pleasant, a guitar and piano woven together, the real magic happens once the chorus hits: Right after Matt Berninger sings "You're fireproof," Sufjan Stevens adds a low, brooding synth that completely changes a song that begins as mellow as water into something that sounds like it's about to catch fire. Lyrically, the song isn't astounding, and decidedly has the least notable lyrics on the album. However, the song is riddled with beautiful, impeccable flourishes that overshadow the lyrics by miles (the string and flute sections that keep the song from circling its prey in the abyss, for example). The most memorable part of the song is, no doubt, Sufjan Stevens' simple addition to the chorus. It's unforgettable.
VERDICT: Short but barely sweet, this song is haunting, spellbinding, mellow, and beautiful all at once. Listening to this song feels somewhat like being hunted by sharks in an ocean (at night) or stalked by tigers in a jungle (at night). It's hard to describe, but it's a must listen.
STAND-OUT LYRICS:
1.) "You're fireproof / Nothing breaks your heart"
2.) "You're a needle in the hay / You're the water at the door / You're a million miles away / Doesn't matter anymore"
----SONG 5: "Sea of Love"
Written in [C Major](?), the fifth song on the album is very surprising structure-wise, wonderfully bombastic, emotionally charged, and lyrically touching (and clever). The emotional highlight of the album, the song features beautiful flourishes and an overall sound that grows on the listener.
ANALYSIS: While the song is in 4/4, it presents a structure that really makes it stand out among the other songs: the songs contains only 5 bar chord progressions and 3 bar chord progressions (rather than the usual 4 bars that most songs have). Despite the complexity, the progressions flow seamlessly and are nearly unnoticeable. The song goes through numerous phases, increasing and dropping in intensity, ultimately building to an absolutely astonishing finish that is beautiful, powerful, and awe-inspiring. The strong, clever lyrics supplement the song wonderfully, and seem to indicate a sort of uncertain father-son relationship (possibly akin to Harry Chapin's "Cat's in the Cradle", but this is merely speculation), or possibly a bond between to friends. In this extremely diverse song, the most memorable part of the song is when the ascent to the massive finisher begins with background vocals accompanying Matt Berninger (singing "Hey Joe ...") at around 2:00. In what feels like a sad, strained song, it provides an odd feeling of consolation, like a warm embrace of sorts. Sufjan Stevens' very sublte synth flourishes also make this part extremely memorable and add a very uplifting feeling, though it may take several listens to notice them. It all comes together wonderfully.
VERDICT: A grower, this song carries a bittersweet feel amidst the pounding of drums, the tricky chord progressions, the clever lyrics, and the massive ascent to what feels like a kind of Pyrrhic victory. It's not quite a tear-jerker of a song, but it's ultimately the most emotive, awe-inspiring, and explosive song on the album. Highly recommended.
STAND-OUT LYRICS:
1.) "If I stay here trouble will find me / If I stay here I'll never leave"
2.) "Joe I'll always think of you / As the kind of child who knew / This was never gonna last / Joe you fell so fast"
3.) "Hey Joe sorry I hurt you but / They say love is a virtue / Don't they?"
4.) "I see you rushing down / Tell me how to reach you / I see you rushing now / What'd Harvard teach you?"
5.) "Can't stay here anymore / We're turning into fiends"
----SONG 6: "Heavenfaced"
Written in [C Major], the sixth song on the album is slow, fairly somber, and sounds a tad tricky, despite its relatively simple composition and decidedly sad yet hopeful lyrics. It also contains some string flourishes that give the song a unique ending that contrasts (yet mirrors) the power of the previous song.
ANALYSIS: The song is in a breezy 3/4 time, but still, it feels oddly tricky at times. It's kind of hard to describe, but after multiple listens, it becomes natural enough. Lyrically, the song has some pretty clever moments and interesting passages worth noting. There's a lonesome feeling to this song that feels oddly akin to... martyrdom. Possibly the end of the world where everyone is waiting to die. It's odd, but the closing lyrics really drive the feeling in. The most memorable part of the song, arguably, is near the end, where inspiring and unexpected string sections help build the song up to a hopeful, though not explosive, ending, right after Berninger sings "Because we'll all arrive in heaven alive / we'll all arrive." It feels sort of like a subtle, understated ascent into heaven itself, like martyrdom or death was achieved. It feels cathartic.
VERDICT: A pleasant song with some clever string flourishes at the end and some nice lyrics, it's an easy-going listen that sounds like a kind of cleansing from troubles.
STAND-OUT LYRICS:
1.) "I could walk out, but I won't / In my mind I am in your arms"
2.) "Let's go wait out in the fields with the ones we love"
3.) "Because we'll all arrive in heaven alive / We'll all arrive"
----SONG 7: "This is the Last Time"
Written in [C Dorian](?), song seven on the album has a unique, bitter feel to it. The lyrics don't jump out as much as the lyrics on several of the other songs, but the rolling feel of the drums mixed with instantly memorable melodies and arrangements make this song work nicely.
ANALYSIS: Immediately catchy and a good listen every go-round (the drumming really powers this song through its collected yet stormy feel), the song works well with its chord progressions, its somber, orchestral qualities, and instantly enjoyable melodies. The lyrics aren't magnificent, but a few select lyrics do catch attention. They seem to indicate a story of failed love between two lovers: the man who wants his woman back despite the troubles, and the woman who doesn't reciprocate his feelings (The man seems to eventually give up in the end). The feeling of the song is very bitter and romantically miserable. The most memorable part of the song is when Annie Clark (aka St. Vincent) provides background vocals in the outro ("It takes a lot of rain in the cup ..."). The whole outro is supplemented with orchestral arrangements that seem to drown in wine, tears, and regrets, but when Annie joins in for the frictional duet, it feels like the female personality has revealed herself... and still doesn't want the male lover back. It's a sad situation amidst the beautiful arrangements.
VERDICT: The drumming carries this song through nicely, accompanied by its subtle chamber arrangements and fair lyrics that paint a picture of a miserable duo who just couldn't make their ends meet in the end. A good addition to the album.
STAND-OUT LYRICS:
1.) "Oh, but your love is such a swamp / You don't think before you jump / And I said I wouldn't get sucked in"
2.) "Oh, don't tell anyone I'm here / I got Tylenol and beer"
3.) "We were so under the brine / We were so vacant and kind"
4.) "Baby you gave me bad ideas / Baby you left me sad and high"
----SONG 8: "Graceless"
Written in [E Major], song eight and a fan favorite possesses strong lyrics, unrelenting force, fantastic composition and flourishes, and a fast tempo. A wildly fun listen every time, this song builds to a bombastic finale and again displays Matt Berninger's widened vocal range, just like on the first song. This song is an immediate highlight.
ANALYSIS: Granted, the National have done a lot of experimentation on this album, especially with time signatures, but this song is in a basic 4/4 with simple-but-fitting chord progressions. The way it's delivered is exceptional. The song is fast, pummeling, uplifting, and laden with fantastic and funny lyrics that seem to tell a story of a miserable or addicted man (or a man who became miserable after losing his woman and turned to medication, maybe). Beneath the party of speed and uplifting chords and melodies is Bryan Devendorf's drumming at its most vicious. The most memorable part of the song starts at around 2:11 where Berninger begins to sign "All my thoughts of you ..." (Bryan Devendorfs repeated snare hits lead up to the part which really add). The loudest or most grandiose moments of a song aren't necessarily the ones that stick the most, and that simple change-up, which in itself is barely a change-up, gives an oddly dynamic effect to the song that adds a lot to the sound.
VERDICT: Loud, fast, ridiculously fun, heavy with wicked drumming, and with miserable and funny lyrics, this song is an explosive addition to the album. This one is worth putting on repeat.
STAND-OUT LYRICS:
1.) "Graceless / Is there a powder to erase this? / Is it dissolvable and tasteless? / You can't imagine how I hate this / Graceless"
2.) "There's a science to walking through windows"
3.) "All of my thoughts of you / Bullets through rotten fruit / Come apart at the seams / Now I know what dying means"
4.) "I am not my rosy self / Left my roses on my shelf / Take the white ones, they're my favorites / It's the side effects that save us"
5.) Grace / Put the flowers you find in a vase / If you're dead in the mind it'll brighten the place / Don't let them die on the vine, it's a waste / Grace
----SONG 9: "Slipped"
Written in [E Major], the ninth song has an easygoing, very melancholy sound, decidedly reminiscent of one of the National's earlier songs, "Runaway." While lyrics aren't too bad and the instrumentation pretty nice, the song hides a secret: it is one of, if not the, most complex songs on the album. Pay attention to those time signatures.
ANALYSIS: Slow and steady, its swing feel compliments its instrumentation. The song is paired with some nice lyrics, although the album contains stronger ones (Whatever story is being told through them doesn't seem to point to anything terribly positive). The simplicity of it all masks the underlying complexity of the song itself, where time signatures blend together so seamlessly, it's downright brilliant. The song is mostly in 7/4, but for a few bars it switches to 4/4, THEN to a few bars of 6/4... and then brains are fried. There may be other time signatures as well, but wherever they are, if they are, they're unbelievably well disguised. Amidst the mastery of time signature smoke and mirrors, the most memorable part of the song is around 3:25 where things begin to swell as Matt Berninger begins "I keep coming back here ..." for the final time. Admittedly, the song doesn't contain many memorable moments, but here it feels like the ascent of the hill is over and all that's left to do is overlook the stretch of land and feel the wind blow.
VERDICT: This song, on one hand, isn't much to appreciate to begin with. On the other hand, it may be the song worth most of the listener's appreciation. Despite fair lyrics and simple instrumentation, everything works on a level that is greater than it seems. This song deserves attention.
STAND-OUT LYRICS:
1.) "I'm in the city you hated / My eyes are falling / Counting the clicks with the living dead / My eyes are red"
2.) "I'm having trouble inside my skin / I'll try to keep my skeletons in"
3.) "But I'll never be / Anything you ever want me to be"
4.) "I keep coming back here where everything... slipped"
----SONG 10: "I Need My Girl"
Written in [D#/Eb Major], the tenth song has very somber, somewhat haunting, single-worthy feel to it. The composition is in a slow and steady 4/4 time with sparse yet memorable instrumentation and some pretty flourishes throughout. The lyrics aren't terribly strong. However, they do feel somewhat akin to a comedy-drama.
ANALYSIS: The song's structure and composition really make it feel like it could serve as a single. In a slow, simple 4/4, the cold, midnight rain shower song is filled with instantly memorable melodies and flourishes that bring about a very solemn feeling, despite the major key the song is written in. Amidst the pretty guitars, Sufjan Stevens' synths, and all the orchestrations is a collection of lyrics that, while not fantastic, are humorous, strange, and sad. They seem to tell a story of a man who can't be anywhere without his girl... and he's somewhere without his girl. Possibly. In a song that seems to drown in misery, the most memorable part of the song is the outro, where Sufjan Stevens' fantastic synths feel like one final, conclusive gust of wind from a cold front. It's absolutely chilling and it lingers long after the song is over. The littlest of flourishes can make a song, and this is one of them.
VERDICT: Perhaps not the most exciting song on the album, it works well with its position on the album and is still a good listen. The ending can send chills down the listener's spine, and is the definitive moment of the song. For lovers of sad or bittersweet music, this one's a winner.
STAND-OUT LYRICS:
1.) "I am good, I am grounded / Davy says that I look taller / But I can't get my head around it / I keep feeling smaller and smaller"
2.) "Remember when you lost your s*** and / Drove the car into the garden"
3.) "There's some things that I should never / Laugh about in front of family"
----SONG 11: "Humiliation"
Written in [A#/Bb Major](?), the eleventh and longest song transitions seamlessly from the somber tenth song and provides uplifting acceleration. The lyrics are decidedly the most humorous on the album, and along with some great chord and key changes (and a fantastic, bluesy ending), this song is a melancholy (yet somewhat carefree) tour-de-force that really surprises... and really sticks.
ANALYSIS: Like the third and eighth songs, this song is in 4/4. And fast. Bryan Devendorf's drumming isn't complex here, but it drives the song along, again, like songs three and eight. Above the rolling drums, piano chords and a synth pad provided by Sufjan Steven intertwine to fill the song with a very uplifting and fresh air (like a non-headache inducing mixture of perfume and cologne). It's worth noting that this song introduces brief but very interesting key changes beginning at around 1:58. The song does have some funny lyrics, and whatever story is being conveyed through them is delivered à la dark humor, and it works well. The most memorable part of the song is also the most surprising part of the song: the bluesy ending, beginning with the notes D#, E, F, G being played on the guitar, and Matt Berninger seemingly singing about a woman who decided that she just wants to have a good time ("She wore blue velvet ..."). That part sticks from the first listen on. It's completely unexpected, but it completely works. It's the part that the listener waits for every time.
VERDICT: A definite go-to song, it's fast, simple, beautiful, funny, and wonderfully arranged with some interesting chord progressions and key changes throughout. However, the ending completely makes the song what it is: fun and addictive. This song is definitely worth a listen. Or two. Or twenty.
STAND-OUT LYRICS:
1.) "I survived the dinner / And the air went thinner"
2.) "If I die this instant / Taken from a distance / They will probably list it down / Among other things round town"
3.) "In the skies over black Venice / I see eyes of a white menace"
4.) "All the L.A. women / Fall asleep while swimming / I got paid to fish 'em out / And then one day I lost the job
5.) "Tunnel vision lights my way / Leave a little life today"
6.) "Under the withering white skies of humiliation"
7.) "She wore blue velvet / Said she can't help it"
----SONG 12: "Pink Rabbits"
Written in [A Major], the penultimate song on the album displays the best lyrics on the entire album, no questions asked. Its lyrics paired with its simple composition give the song a curiously magical feeling that's hard to describe. This song is also the album's weed: it grows much faster than expected.
ANALYSIS: Compositionally, the song is simple and pretty enough in a pinch. It's in an easy, swung 4/4 time with a very unassuming chord progression, but it wouldn't be able to stand on its own. And it doesn't: the lyrics on this song are really the best of the thirteen songs. Once heard and remembered, the lyrics completely change the feeling of the song and instill a feeling of magic mixed with sadness. The lyrics seem to tell a bittersweet story of two off-kilter lovers (or ex-lovers who long to return to each other, maybe). Whatever the song is about, it feels akin to opposing magnetic fields in love, and it sounds absolutely wonderful. The most memorable part of the song is, again, the outro. At around 3:30 is when Matt reiterates the final lyrics of the song ("You said it would be painless ..."), accompanied by celeste notes that are really the icing on the cake. The sound is unified, nostalgic, awe-inspiring, incredible.
VERDICT: A big surprise on the album, this song's stunning and adventurous lyrics coaxes the simple arrangements its married to out of its humble state to fly together over incredible distances and above mountainous peaks. It only gets better after each listen, and it definitely deserves the listener's attention. It also deserves to be called one of the best songs on the album.
STAND-OUT LYRICS:
1.) "It wasn't like a rain, it was more like a sea / I didn't ask for this pain, it just came over me"
2.) "I'm so surprised you want to dance with me now / I was just getting used to living life without you around / I'm so surprised you want to dance with me now / You always said I held you way too high off the ground"
3.) "You didn't see me I was falling apart / I was a white girl in a crowd of white girls in the park / You didn't see me I was falling apart / I was a television version of a person with a broken heart"
4.) "You said it would be painless / A needle in a doll / You said it would be painless / It wasn't that at all"
5.) "Somebody said you disappeared in a crowd / I didn't understand then / I don't understand now
----SONG 13: "Hard to Find"
Written in [G# Major], the closing song on the album ends the collection very solemnly and beautifully. This song has fairly nice lyrics, and like most National songs, it's a bit of a grower. This song is also the final testament that, yes, the National have done more experimenting with music than usual this time around.
ANALYSIS: One thing isn't immediately apparent about the song: it isn't in 4/4 time. Rather, it's seamlessly composed in 5/4 time, aided by the easygoing feel throughout the song. The composition is so smooth that there's little or nothing to "get used to," in a sense, with this time signature. Though the lyrics themselves aren't terribly stunning, there are some clever moments throughout, and even a reference to the Violent Femmes. The most memorable part of the song is, like many of the others, the outro. Beginning around 3:09, the band introduces a more present drumming pattern and a beautiful, regal brass section that sounds like a memorial to a dead, beloved king. It's subtle, yet somewhat breathtaking and bittersweet.
VERDICT: Not immediately loveable, but after a few listens, the song reveals the qualities of its composition and overall sound. A very beautiful, mellow way to end a stunning album.
STAND-OUT LYRICS:
1.) "They can all / Just kiss off into the air"
2.) "Don't know why we had to lose / The ones who took so little space / We're still waiting for the ease / To cover what we can't erase"
3.) "I'm not holding out for you / But I'm still watching for the signs / If I tried you'd probably be / Hard to find"
In the end, no song is really a let down. Though some are definitively better than others, Each song contains things worth appreciating, whether they be tiny flourishes, fast tempos, slow tempos, fantastic lyrics, mind-frying time signatures, key changes, ideal chord progressions, or the like. The National may have traded their stress levels for wild, hidden-in-plain-sight ideas and there doesn't seem to be a real misstep. Even though some songs work really well enough alone, everything works together wonderfully in the long run. Here's to another fantastic album by The National.
Personal favorite song: "Humiliation"
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