Alright, so when I first listened to this album, I gave it a 3/5 on Rateyourmusic even though I didn't enjoy it much at all, assuming that in time I would come around to it. Nearly a week later, I can say it's earned that 3/5 and perhaps more. It hasn't climbed in the rankings, but my disappointment and irritation over the collaborations has lessened and I can better appreciate the songs for what they are.
The problem is that I still don't find very many of these songs among their best work in terms of the nuts and bolts of writing: the lyrics and melodies. The band's classic sound is certainly there, austere, bright and cold, but I am having a difficult time remembering these songs as individual units when they end. Most of them pass just fine as songs by The National, appropriate enough for a film soundtrack, but in terms of tunefulness (think Fake Empire, All the Wine), nothing sticks. And Matt is just doing his thing here as a lyricist: confessional, quirky and unique to his style. Nothing that matches the disarming black humor of Karen or weird non sequitur poetry of Baby We'll Be Fine, but that was a long time ago. Matt became a lot more direct starting with TWFM and I've had to adjust to that.
One very concrete complaint I have is that the interludes could have been better integrated or else not used at all. Her Father in the Pool and Underwater hardly stand alone and the latter actively hurts the flow between Rylan and Light Years. Almost feels like the album is on shuffle. Dust Swirls in Strange Light is an odd thing, not much of a song but full of interesting moments. It's their first time using interlude tracks like these and I don't think they add a lot to the album experience, but I like the impulse.
Speaking of Light Years, that's the best track on the album and a gem by any standards. Great melody that had me singing along as early as my second listen, tasteful arrangement, emotive Matt vocal. Instant classic. Rylan is really good too, very sturdy beat and workable melody, and it has my favorite use of backing vocals on the album. Where Is Her Head has the energy I'm looking for elsewhere on the album and I really like its abstract lyrical approach. So Far So Fast isn't a track I remember for its melody but I think it's a keeper for its kitchen sink arrangement and patient outro.
So hey, a lot of improvements after giving it some time. I'm pretty far from considering it a favorite National record, but the experience is enjoyable. I don't think the album drags by any means, but there are tracks that pass me by completely and maybe they didn't need to be here. I wouldn't mind a more brisk and upbeat 40-45 minute album next time. Wouldn't that be experimental?
