Track 5 - Afraid of Everyone
Oh wow, evidently there was a child involved in the protagonist's relationship on this album. This has gone from failed romance to broken family, depressing. However, a faster drum tempo and more upbeat tone in the vocals actually make Afraid of Everyone less maudlin than most tracks on High Violet. There's a great hint of determination in the face of overwhelming odds that really speaks to me here, and the ending bridge has some great guitar work without the use of The National's well-worn fuzzbox.
Track 6 - Bloodbuzz Ohio
Is this the new Love Will Tear Us Apart? Hopefully there won't be a badly sped-up radio edit that gets piped into the "trendy" sections of Myer, but yes, this is a contender for a classic song. I've already reviewed this, so I won't dwell too long, but in the vein of this album having a concurrent theme, this is the part when you're getting over your ex and flirting inappropriately with someone new.
Track 7 - Lemonworld
Now the older single man is hitting on naive young women whilst drunk at a party said young women are hosting. This is, for me, the worst song on the album. The protagonist is being a buffoon and the lyrics are confusing an nonsensical. Yeah, I've been drunk and slurred bad lines at girls, but I've also had my wisdom teeth out, I don't need to hear songs about either. However, Lemonworld, even as a bad song for this album, would be a good song on many other albums. If Gaga or Katie Perry put out something like this, I would be amazed and thrilled.
Track 8 - Runaway
Yay! The protagonist has found new love and is refusing to back down from his feelings. Stick in there and fight for her dammit! There is an emotional and subtle horn section on this track that makes it rival Bloodbuzz Ohio for my affection. Runaway is touching, soulful and one of the best new love songs I have heard in years. The celebratory tone to this song is tempered with a wonderful melancholy that reminds me of Nebraska-era Springsteen and honestly evokes a lot of emotion in me.
Track 9 - Conversation 16
I'm really not sure to make of Conversation 16. Aside from the obvious lack of Conversations one through fifteen, the song appears to start with traveling to LA and then leaving LA because it sucks. No argument here, I've been to LA, there's nothing there but the film industry, it's boring. Then Conversation 16 goes into a kind of Hannibal Lecter tribute; "I was afraid I'd eat your brains 'cause I'm evil", from here we alternate between leaving LA and excerpts from Hannibal. Is the song any good despite the confusing lyrics? Hell yes. The music is great, the vocals are haunting and evocative and the rhythm line is possibly the best one The National have written to date.
Track 10 - England
Aside from some Coldplay-style piano work, England maintains the standard of the rest of High Violet. Honestly I'm kind of running out of this to say about The National. Yes, all of their songs sound vaguely similar; but awesome sounding like other awesome is not really a problem. I can't understand what message The National are trying to get across, but I don't care, it's all outstanding.
Track 11 - Vanderlyle Crybaby Geeks
I'm guessing that by this point, The National have given up all pretense of writing anything clear or concise. This seems to be reuniting of the couple from the start of the album, but lines like "I'll explain everything to the geeks" just muddy the issue. However, like Conversation 16 and Runaway, VCG is stunning and features some apparent Boss influence. You know what? Why are you even still reading this? Go buy this album. If you like New Order, Joy Division, early REM or Nebraska Springsteen, you need to pick up High Violet by The National.
Excuse me while I kiss the sky.
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