The National - Sleep Well Beast

Confession time!  Up until a few weeks ago, I've never actually listened to The National.  I know who they are.  I've heard of their albums, and I know what they've done.  But I've just never gotten around to listening to them.  Listening to their 2001 debut album "The National" however, I almost stopped right there.  This album was nothing to write home about at all.  It reminded me of Wilco's early 90's debut "A.M.", but not nearly as interesting or well performed.  There were elements of Indie Rock and Alternative Rock, but overall this album was just sloppy.  On the other hand, I was shocked to find out how much I really enjoyed 2003's "Sad Songs for Dirty Lovers".  I loved the much moodier performances on here, even though I totally understand what people wouldn't possibly enjoy about the vocals.  But overall, the Alternative-Country influence was smooth, and some of the more Upbeat tracks like "Available" stole the show entirely.  The National grew their sound to even bigger levels with 2005's "Alligator".  Now, if you weren't into the sort of dreary and somber sounding tunes The National were taking on up until this point, you probably won't like this album either.  And there are certain moments I don't dig on here either, like "Looking For Astronauts" and "Val Jester".  But the second half of this album as well as some of the early tracks were some of the finest The National had recorded yet.  Then, of course, The National released "Boxer", which is an album going into it that I was expecting to be underwhelmed with.  To be honest, though, I was floored by the clashing styles and unbelievable songwriting.  So far, I really didn't have anything too bad to say about The National.  Up next, however, The National started to lose me a little with 2010's "High Violet".  This album was just so different from what the band had been dishing out.  The songs were so much slower and more emotional.   Which to be honest, lead to some really amazing and epic performances like "Conversation 16" and "Afraid of Everyone".  But a huge chunk of the rest of the album was just so slow and boring.  Tracks like "Runaway" and "Little Faith" while they were filled with emotion, took way too long to get where they were going.  2013's "Trouble Will Find Me" was, even more, head scratching for me.  By this point, I was sort of used to The National's moody and gloomy performances.  But like, the majority of this album, outside of a few tracks like "Sea Of Love" was simply boring.  So to be honest, I wasn't really expecting that much from this new National album.  However, the teaser tracks leading up to this have so far been VERY interesting.  Not only that, they show the band keeping their gloomy and melancholy vibe, but bringing in some very stunning and lavish instrumentals like they've done in the past.  So let's talk about this album.

(A personal favorite of mine from The National)

This album starts off with “Nobody Else Will Be There”, and it’s certainly a very slow and somber start, but that can go for just about any National album.  Vocalist Matt Berninger however, sounds more emotional than he has in the last album or so.  It’s just how withered he sounds, to be honest, and just how exhausted he comes off.  But man, is it ever effective.  This seemingly barren atmosphere is just so haunting.  Some of the backing vocals really add to that as well.  But then some of these instrumentals start slowly pouring in.  The strings are stunning, those light drums come off more as gunshots in the distance, and that low piano always just seems slightly out of reach.  Honestly, it’s really powerful.  This isn’t instantly going to be gratifying or anything close, but “Nobody Else Will Be There” is powerful.  Not to mention, the sheer emptiness of this track is staggering, just like the house Matt is describing throughout.   Then we have “Day I Die”, which is a sort of Post Punk, upbeat Indie Jame, the likes of which I really haven’t heard from The national lately.  The drums are intense, the guitars are anthemic, and Matt’s very surreal lyrical performance is just done so well.  There’s a sort of Heartland feel to this, but it’s a vibe that The National have certainly tackled well in the past.  It remains very somber through it all though, but there’s just enough oomph to this one to really stick with you.  So hell yeah, this is a sound I’m always into hearing from The National.  Not to mention, I can’t remember the last time I felt like their sound came off so big that it could fill up a room.  Up next we have another slow burner, “Walk It Back”.  It’s funny when Matt really does his vocal style right, he sounds like he’s whispering in your ear.  I love the punchy lyrics here among this seeming delicate environment.  But it creates a seriously interesting atmosphere, with light and beautiful melodies that are seemingly always floating out of reach of these gloomy passages.  But it’s just the sort of uneasy pacing on this one that really makes this stand out, as well as some of the really bizarre vocal effects that pop in about halfway through.  In a weird way, the vocals remind me of some of the bizarre and chilling effects used on Radiohead’s “Kid A”.  “Walk It Back” is a slow burner, but I can’t remember the last time I was this compelled by a National track.  Then we have “The System Only Dreams In Total Darkness’, which brings in these very dreary and dreamy backing vocals.  But I love the very surreal atmosphere that they usher in.  Not to mention, I feel like the Nationals instrumentals sound just so determined, which is something I haven’t heard in years.  I love how subtle some of these details are, like those quirky small horns on the chorus as well as those strangely anthemic guitars are on the chorus.  We get a lot of elements in this track that just don’t seem like the National have touched in years, like that skillful guitar solo and these ridiculously passionate vocals on the chorus.  I feel like this track sticks out wonderfully, and also ends up using build up wonderfully.  “The System Only Dreams In Total Darkness” is a hell of a tune.  

    Sadly though this album isn’t all gems.  The minute I hear “Born To Beg” I’m instantly getting some really awful flashbacks.  This literally sounds like the drab, boring performance that kept me from really enjoying The National for the last few years.  The pacing on this one is just so damn slow and uninteresting, and Matt’s performance is just so middle of the road.  I feel like they just took the biggest step back possible.  I do like some of the little details, like the continued chilly atmosphere which in a weird way sort of still reminds me of “Kid A” era Radiohead.  But overall this track is just so disappointing.  Thankfully The National bounce back with “Turtleneck”, which is the sort of raucous and unhinged track that I really needed to hear from The National.  Here, we have so many bluesy and wild sounding vocals.  Even lyrically, this comes off so rebellious.  I can’t even remember the last time I heard this sort of performance from The National, if I ever even have.  “Turtleneck” is just so youthful and wild, with just enough of a political edge that I really don't mind too much.  But at the same time, this really isn’t that far of a stretch for National fans.  The solo’s are explosive, the drums are intense, and it all sounds massive.  “Empire Line” is next, and once again I really can’t seem to shake this sort of “Kid A” vibe I’ve been getting from these very vast atmospheres.  But let me be clear, this isn’t nearly as interesting as or as life changing as “Kid A”, so don’t you worry.  This track is the complete antithesis of the last track.  The vocal performance on this one is just so patient and smooth.  But it’s tracks like this that have never really stuck with me too much from The National.  My issue with this, and other tracks similar to this, is that they seem to be attempting to build to some sort of slow burner.  And that’s totally a fine idea, but honestly, it never really ends up going anywhere.  “Empire Line” doesn’t lead to anything, and the only thing I can really look forward to is another sort of drab and gloomy verse.  It’s moments like this that have always confused me about The National.  Then we have “I’ll Still Destroy You”, and it’s really hard to hear a track like this and not continue to point out the sounds of “Kid A”.  That lumbering bass and distant eerie electronic beat with Matt’s very chilling performance over it all actually makes for quite the atmosphere.  “I’ll Still Destroy You” is very synthetic and chilly, but I’m still entranced by just how beautiful some of this track is.  The instrumentals here are just so vast and stunning.  And as far as a more artsy and left field track goes, this is easily one of the better tracks I’ve heard from The National in years.  It’s relaxing and hypnotic, but the upbeat and eclectic vibes of all of the instrumentals keep you awake and interested.  It’s a wonderful tune, and I really love Matt’s performance here once again.  As far as his more gloomy performances go, this is certainly a high point.  

    The National’s venture into darkly tinged electronic music continues on full blast with this.  These rhythms continue to be so off kilter and bizarre for The National.  And while it’s something I wasn’t expecting to hear, it’s great.  Not to mention, Matt just sounds so much more vulnerable within this atmosphere.  It’s also something about the pacing on “Guilty Party” that blows my mind.  Not to mention, some of the light, fluttering instrumentals that pop in about halfway through is just so elegant.  This album overall is actually a whole lot more intricate and intricate than I could have expected.  Then we have “Carin at the Liquor Store”, and as far as a softer tune goes, this is easily one of the most elegant performances here.  Matt’s performance here is just so tender and up front.  Not to mention, this just really brings in the sort of personal side that I loved so much about “Boxer” years ago.  But is “Carin at the Liquor Store” anywhere near as fleshed out as it could have been?  In an album of tracks that are almost all nearing the 6-minute mark, this one easily could have been 2-3 minutes longer.  Instantly though, “Dark Side of the Gym” really doesn’t hit me as hard at all.  Here, Matt’s performance is only a fraction of how compelling it has been on the last few tracks.  The instrumental on this one seems so much flakier overall, while so many of the others have stood their own for the most part.  And yes, there’s still a lot to admire here with just how lush and beautiful a lot of this is.  But most of this album I’ve enjoyed the way The National have branched out and gotten out of their comfort zone.  Sadly, this track just isn’t that.  Not to mention, this track just sounds so flimsy.  Now, this album ends off with “Sleep Well Beast”, and I have no Idea why I can’t shake this “Kid A” vibe.  I’m not sure if that’s what they were going for, but it’s really not that bad.  To be honest, they’ve taken in this darker and more electronic sound incredibly.  I love the very grim feel to this one.  The beat is decent, and the haunting atmosphere is a really nice aspect as well.  But sadly, I feel like this is my least favorite performance from Matt on the entire album.  I usually dig his gloomy performances, but this one is completely lifeless.  And while I do enjoy a lot of elements to this finale, it’s not the best they could have done.  

Rating: 7.9/10

Give A Listen To: “Nobody Else Will Be There”, “The System Only Sleeps in Total Darkness”, “Turtleneck”, "I'll Still Destroy You"

Genre: Indie Rock / Post Punk / Art Rock

If You Dig This, Check Out: The National - "Boxer", Bon Iver - "22, A Million", Radiohead - "Kid A"

Overall Thoughts:  I honestly enjoyed the hell out of most of this album, which is something I really wasn't expecting.  It's been so long since I've enjoyed an actual full album from The National.  But hearing this was really refreshing.  The band is really incorporating a whole new element to their music, one that brings in a totally fresh Dark Electronic sound.  It flows really nicely though, and The National seem really comfortable with it.  Also, these are easily some of the most interesting instrumentals they've touched in years, just saying.