The felt used, the The National have paid for the production of High Violet, would have been almost playful at the end. Seldom has one already noticed so unassuming, almost lethargic rock music, such as the post-punk of High Violet, the fight, the one band had to perform with himself to bring these eleven heavy songs over the finish line at the end. Handy, spirited rock songs for everyday use that animate every office chair artists with the necessary dose of caffeine for daily, appreciative rockers on the soft cushion, as soon as they sound on the radio that are not here. Rewarding catchiness sometimes just have to also be discovered. And a plate like High Violet, which is fast becoming the ordeal, invites well. If the teacher would give up the music lessons, to paint a color scale to be explained the mind of the songs on the album, it would extend from drab black to a least optimistic gray. That makes The National ever to significantly happier contemporaries, as Joy Division at their time. The oft-quoted reminiscences in Sound of Americans to the English post-punk legends are reflected in so small but striking details again, as in the mechanical drumming of Bryan Devendorf or baritone voice of Matt Berninger, who is on stage almost the same with both hands clinging to his microphone, as once Ian Curtis. Here are The National in the deteriorating manageable mass in what is called indie music all long since found her own style. Postpunk they are only on their own terms. High Violet wins, so tormented, constricted and over-produced on the first impression also act magnet with any other running not only in intensity, but above all to color. Where would we be in music lessons again. The relief which slowly drives a tough after this ordeal and the initial disappointment the color back into the pale face, makes up for it properly. For High Violet is not only actually pretty flawless, but even quite spectacular.
