Feel so odd about this album. Were it not The National I doubt I'd have played it more than I currently have. Can't wait to see how it shapes up live... Gump, any thing to note about the live performances of this era as yet? Been keeping an eye on the setlists so far, each one has been better than the last, thanks to a larger smattering of TWFM and High Violet, and great to see Geese, Baby We'll Be Fine, All the Wine, Lucky You find their way into a few sets. But I'm devastated that they've abandoned Vanderlyle Crybaby Geeks as an unplugged finale. Not surprised, they did it for two tours, so time for something different, but that shit was so fucking special and I'm heartbroken I probably won't get to see it again. Akin to U2 closing with 40, I think. Anyway, track-by-track thoughts, and I've erred on the side of harsh in my rankings.
Nobody Else Will Be There - 9
Adore this song. Its atmospherics are astounding. Only needs a feather-light programmed drum line and a desolate piano line (there's a few on this album, and the ones that remind me most of Exile Vilify, like this one, are the best) to suck you in, and then this brilliant, close-to-the-mic, almost-whispered vocal line from Matt. The way he sings "it's getting cold again but New York's gorgeous....." is all-time, particularly the word gorgeous, it takes me immediately back to those creaky, sleazy vocals from Bono on a few Pop tracks, I adore it. Terrific song.
Day I Die - 6
The guitar is fucking sensational. That along with the drumming provides as visceral a rush as their best upbeat rock-pop numbers. The verses are fantastic as well. But then you have the chorus, which takes me out of the song. It's an empty, uninspired line from Matt. He's got plenty of repetitious lyrics, the best of which evoke emotion through their repetition. This one leaves me completely cold and takes me out of the song. Everything else is great. The bridge it feels like there's something at stake. But that chorus, ugh. Try harder. It doesn't even sound nice, the way he sings it.. so, tl;dr: I love this song except for the parts where he sings "day I die day I die where will we be". Wasted opportunity.
Walk it Back - 6
Again, I love the low vocals. The electronica weirded me out at first. I think lyrically it's a gem. Much of the album seems to live in this space of... navigating a long-term relationship where you both love each other and you're in it for the long haul, but with the sheen worn off you keep having these little nagging tiffs. But it doesn't really go anywhere for a long time for me. I dig the change that the final verse provides, and I love the electronica wind-down at the end, but I respect this song more than I really like it.
The System Only Dreams in Total Darkness - 9
Best song on the album, but definitely a bit of a red herring, looking back. It's got great pace and energy, it has these weird-but-wicked distorted guitar stabs, great horns and an awesome chorus where Matt starts really going for it. Catchy as all fuck, will stay in your head for days.
Born to Beg - 4
A few nice lyrics but not much to write home about. They've done this sort of song before - Runaway, Heavenfaced are a couple of examples - and none of those have been favourites and neither is this. This is a boring song that loses my attention almost immediately and never really gets it back.
Turtleneck - 6
Do like that it's significantly different and much more loose than anything they've done since Sad Songs for Dirty Lovers, and I don't think it's much to write home about, but it's a cool kick of life and it's only three minutes. Like the raspiness of his vocals, the lyrics. Will never be a favourite but as a throwaway rocker it does a good job. Should be good fun live.
Empire Line - 7
This is a good example of what I'm talking about with this album. I like what's there, but the electronically filtered rhythm section has, by this point, become a little tired. At nearly two minutes it gives way to the gorgeous chorus, with its Lemon homage piano, and then we're back to the the same midtempo, staid rhythm that's found on Walk it Back, Born to Beg and pretty much the entire back half of the album. Bryan's drums FINALLY come in at the three-minute mark, and they're hugely welcome, and the song starts to gain life, but it just takes so long to get there.
I'll Still Destroy You - 5
Again, nice enough, with some lovely vocals in the chorus and some great introspective lyrics, but it just really struggles to get out of second gear. It passes by me without leaving much of a mark at all.
Guilty Party - 8
The start of a four-song run that's really impressive. There's that midtempo, electronically-filtered, skittering rhythm, but there's some subtle key changes (particularly at the start of the chorus), vocal lilts and dark-ish piano that provide weight. The flittering horns are lovely and the last minute, with the anxious synths/piano, gives the song this added sense of tension. Didn't click with me immediately, but impresses a lot in the context of the album.
Carin at the Liquor Store - 8
The Exile Vilify piano again! There's a sort of slow, drunken feel to this song, and it's distinctively The National, too, the slow-but-danceable piano & drums, lines and punchlines that you just don't expect but work perfectly - the John Cheever lines. A spacey guitar solo also adds another wonderful layer. A great addition to the canon of fantastic National ballads.
Dark Side of the Gym - 8
No fucking idea why it's called that, but this is a gorgeous ballad as well. It has this lovely, hazy sort of fuzz to it, it works well with the preceding track, but it stands out on its own as well. Some excellent ocean-y, even U2-esque (when they're being subtle, not smashing you ever the head) guitar work in the background. It's a sweet lyric about infatuation as well. The last couple of minutes combine all the elements together, adding some strings too, and it swells to a lovely climax.
Sleep Well Beast - 9
Its start is very similar to I'll Still Destroy You, but it's a way, way, way better song. Its skittering electronica doesn't really stagnate, like it does on other tracks, it's more of a Kid A / Amnesiac-era, it's subtly uplifting and moving. The lyrics paint this anxious scene, there's a lot of loss and fear and anxiety here, but it's almost like the song is swallowed in valium or something, because the music, even the warped guitar work, combined with Matt's totally hushed, whispered vocals evoke this pleasant, peaceful atmosphere. I would argue that this is perhaps their most atmospheric song they've ever done. It's a wonder, and I adore it, and then unfortunately it just leaves me wanting more of it. The album ends so strongly, it's a shame that it feels the need to... I dunno, sort of almost justify its existence with this walkabout nothingness that's to be found earlier on.
tl;dr rankings!!!
9s
Nobody Else Will Be There
The System Only Dreams in Total Darkness
Sleep Well Beast
8s
Guilty Party
Carin at the Liquor Store
Dark Side of the Gym
7s
Empire Line
6s
Day I Die
Walk it Back
Turtleneck
5s
I’ll Still Destroy You
4s
Born to Beg
Overall: Some great refreshing moments and a handful of awesome new songs to add to the canon but overall an underwhelming listening experience for mine. I'd give this thing a 7.4, if I was a Pitchfork man.