First Two Pages of Frankenstein

First Two Pages of Frankenstein, the 9th and latest album from Brooklyn-based band The National, is highly reminiscent of the two best albums from the band; 2010’s High Violet and 2013’s  Trouble Will Find Me. It has similar minimalist tracks, mostly dominated by their trademark Joy Division-like drums and background synths, alongside Matt Berninger’s baritone vocals. What’s changed from the brilliant Trouble Will Find Me, is the occasional use of female backing vocals. Female backing vocals is usually a questionable choice for rock bands, and more often than not, signals a path towards becoming more commercial and poppy, while loosing their edge. Taylor Swift’s backing vocals is no deviation from this “rule”. Her backing vocals makes ‘The Alcott’ track quite “poppy” despite its excellent deep techno heartbeat drums and other good qualities.

Like the two earlier mentioned The National albums, this album is a welcome return to their earlier melancholic soundstage, that they weave with expertise. Their newest album might even be more minimalist than Trouble Will Find Me, with more piano driven tracks and with lead singer Matt singing in a slightly higher range than on High Violet. A few slightly pedestrian, ”bright” and short guitar solos, feels a bit out of place on a couple of tracks.

On the two tracks with Phoebe Bridgers on backing vocals, her voice seems much better integrated and natural part of the song, than the Taylor Swift backing vocals track.

As with all the great The National tracks, we are given an intimate first row peek into what feels like deeply personal reflections or letters about; that one girl that got away, after it all went wrong and the relationship is way past saving. Matt and band takes us back with oddly specific lyrical images to a time before the relationship went bad. We get to ride along; relive and savour those past experiences, with a bittersweet taste in our mouths and our hearts.

The only two tracks that might not measure up to the rest of the album is ‘Eucalyptus’ and ‘The Alcott’ (and this only because of Taylor Swift’s backing vocals… and I’m willing to admit to some bias here).

The album opens with the piano-driven ‘Once Upon A Poolside’. Filled with ambient, female backing vocals, and synths. And almost void of drums, which, as far as I recall, is a first for The National. A great atmospheric opening track.

Since they have a track that refers to New Order, another track; ‘Tropical Morning News’ feels like a New Order-styled track. High paced – with a fast descending bass-line and “poppy’ snapped drums.

My favourite tracks on the album come at the end of the album. ‘Ice Machines’ has a great acoustic guitar and great rolling deep drums. And my absolute favourite – ‘Your Mind Is Not Your Friend’, is another piano driven track that has a great crescendo with Matt repeating the chorus over and over as the tracks climaxes. Very reminiscent in both lyrics and melody of the excellent ‘Pink Rabbits’ track from Trouble Will Find Me. 

The Closing track, ‘Find Me’, seems like a desperate hope in his mind’s feeble fantasy; that the girl that got away, could possible one day need him again. The music on ‘Find Me’ is again piano driven, melancholy and atmospheric, like most of the album.

Like the best The National albums, First Two Pages of Frankenstein might not bowl you over at first or first couple of listens. But if you keep listening to their albums, they get under your skin and slowly wins you over, one track at a time. Their ninth album is no exception and a lot better than their previous couple of albums, and puts The National back among the best Alternative/Indie rock bands.

I don’t want to reduce The National’s output to just these three albums; their first eponymous album, Alligator, Boxer and Sleep Well Beast are all well worth checking out, but Frankenstein is a return to top form!

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