High Violet

I still think of High Violet by The National as a new album. At over 13 years old, it really isn't new any more, especially since the band has released three more studio albums since High Violet was released in May, 2010. I remember picking it up from Mr. V in its purple (violet, I guess) gloriousness. Records are such a gorgeous tactile experience.

Because I am a bit of a numbers-geek and I enjoy keeping track of things (especially if it doesn't require any effort on my part), I use software to log what I listen to on Spotify and also from my MP3/FLAC collection. On writing this, I've listened to songs from High Violet 2,406 times. With 11 tracks on the album, it's fair to assume that I've listened to High Violet a couple of hundred times. There are uncounted vinyl listens, but let's ignore that.

There are hints of the sparseness of the preceeding album, Boxer, but it's a sparseness overlaid on top of a swelling sea of sounds, making for a very rich soundscape. The percussive accents that are sprinkled through the songs are perfect, and when you add Matt's creamy/croony baritone it's a very beautiful thing to listen to.

I don't know if the songs follow one or many people. And I don't know if it's autobiographical. It feels like the character is grappling with a mundane, yet successful, life. Perhaps there is guilt, too, from the success they have.

This album is, as they say, all killer no filler. Vanderlyle Crybaby Geeks is a wondeful way to end a record. And a concert. If you have the chance to catch The National on a tour, do it. It's an amazing experience.