First Two Pages of Frankenstein

The National

Publicado el 28/04/23 por 4AD
Artistas principales: The National
Género Alternativa & Indie

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Over nine albums, The National have grown wilder in their experimentation. But the Brooklyn-by-way-of-Cincinnati band proves on First Two Pages of Frankenstein that almost no one else does Midwest desolation this well—still. It's there in the plaintive but sweetly hopeful piano line that carries "Once Upon a Poolside" and underscores Matt Berninger's troubled lines: "I can't keep talking/ I can't stop shaking/ I can't keep track of everything I'm taking." (Bonus points for bringing in fellow Midwestern native Sufjan Stevens for ethereal backing vocals.) There's a spareness, too, in the excellent "Eucalyptus," which poses questions about who walks away with what when a relationship ends: ceiling fans, rainbow eucalyptus, ornaments ..."What about the undeveloped cameras?/ Maybe we should bury those ... What about the Cowboy Junkies?/ What about the Afghan Whigs?" And yet the song takes on an early-U2 level of drama with a build of moody, striking guitar and tumbling drums. "Tropic Morning News," meanwhile, surprises in a different way: Starting with a perfectly chilled Joy Division beat, the guitars spring to life and the bridge takes off and up. This is the song that is said to have saved the record, after Berninger was in a dry spell. It was, he has said, "the first time it ever felt like maybe things really had come to an end" for the band. But, with his wife Carin Besser's help on the words, he pulled through—a feeling that seems to be reflected in the lyrics: "I was so distracted then/ I didn't have it straight in my head/ I didn't have my face on yet, or the role, or the feel/ Of where I was going with it all ... There's nothing stopping me now/ From saying all the painful parts out loud." Much has been made of the band's collaboration with Taylor Swift, "The Alcott,” and for good reason. As a producer, National guitarist and songwriter Aaron Dessner knows how to pull a genuine maturity out of Swift. Here she holds her own against Berninger's deep masculinity and the beating heart of percussion. Unlike with other guests on ... Frankenstein, this is a proper duet, and a pretty perfect addition to the Swift oeuvre, as she delivers lines like "Shred my evening gown/ Read my sentence out loud/ Because I brought this curse on our house." Phoebe Bridgers, meanwhile, shows up on "This Isn't Helping" and "Your Mind Is Not Your Friend," but her harmonies are more like a spoonful of sugar atop Berninger's roughness, rather than an equal match.The record ends with “Send for Me” and Berninger promising to answer any SOS: "If you're ever sitting at the airport/ And you don't want to leave ... If you're ever at a glass-top table, selling your ideas/ To swivel-chair underlings who just don't get it … Send for me/ Whenever, where ever/ Send for me/ I'll come and get ya." In other words: They’re not done yet. © Shelly Ridenour/Qobuz

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First Two Pages of Frankenstein

The National

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Once Upon A Poolside (feat. Sufjan Stevens)