Hubbry Logo
High VioletHigh VioletMain
Open search
High Violet
Community hub
High Violet
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
High Violet
High Violet
High Violet
View on Wikipedia
from Wikipedia

High Violet
Studio album by
the National
ReleasedMay 10, 2010 (2010-05-10)
RecordedMarch 2009 – January 2010
Studio
Genre
Length47:40
Label4AD
ProducerThe National
The National chronology
The Virginia EP
(2008) 		High Violet
(2010) 		Trouble Will Find Me
(2013)
Singles from High Violet
  1. "Bloodbuzz Ohio"
    Released: May 3, 2010
  2. "Anyone's Ghost"
    Released: June 28, 2010
  3. "Conversation 16"
    Released: October 25, 2010
  4. "Terrible Love (Alternate Version)"
    Released: November 22, 2010

High Violet is the fifth studio album by The National, which was released on May 10, 2010, in Europe and on May 11, 2010, in North America via 4AD.[1] The band produced the album themselves, assisted by Peter Katis with whom they worked on their previous albums Alligator and Boxer at their own studio in Brooklyn, New York, and at Katis' Tarquin Studios in Bridgeport, Connecticut.[2] The sculpture on the album cover was created by artist Mark Fox, and is called The Binding Force.[2][3]

An expanded edition of High Violet was released through 4AD on November 22, 2010.[4][5] The reissue includes the standard 11-track album along with a new bonus disc, featuring the unreleased tracks "You Were a Kindness" and "Wake Up Your Saints" as well as alternate versions, B-sides, and live recordings.

Release

[edit]

On March 10, 2010, they performed opening track "Terrible Love" on Late Night with Jimmy Fallon, two months before the album's release.

The album's first single "Bloodbuzz Ohio" was made available for download on the band's website on March 24, 2010. The song was also released on 7" vinyl (with the exclusive B-side "Sin-Eaters") on May 3, 2010.[6]

On April 19, 2010, a low-quality version of the album was leaked onto the internet in its entirety which prompted the band to announce that the album would be streaming on The New York Times' website from April 23 until April 27,[7][8] then on NPR's website until May 11.[9]

On May 13, 2010, the band played "Afraid of Everyone" on the Late Show with David Letterman. Sufjan Stevens sang backup for them during this performance.

High Violet sold 51,000 copies in its first week of sales, charting at number three on the Billboard 200. This marked the National's highest charting effort at the time (beating Boxer, which debuted at number 68),[10] until the release of Sleep Well Beast in 2017, which debuted at number two.[11]

In May 2013, the band played High Violet track "Sorrow" 105 times in a row at an art installation in New York, in a performance lasting six hours.[12] This durational performance was released as a special vinyl-only box set entitled A Lot of Sorrow by 4AD in June 2015.[13]

In June 2020, the expanded edition of High Violet was released on vinyl for the first time as the 10th Anniversary Expanded Edition.[14]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?8.3/10[15]
Metacritic85/100[16]
Review scores
SourceRating
AllMusicStarStarStarHalf star[17]
The A.V. ClubA[18]
Entertainment WeeklyB+[19]
The GuardianStarStarStarStar[20]
Los Angeles TimesStarStarStarHalf star[21]
MSN Music (Consumer Guide)A−[22]
NME8/10[23]
Pitchfork8.7/10[24]
Rolling StoneStarStarStarHalf star[25]
Spin8/10[26]

High Violet was released to widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 based on reviews from mainstream critics, the album received a score of 85 out of 100 based on 36 reviews, indicating "universal acclaim".[16] BBC Music critic Mike Diver hailed the album as the National's "finest disc to date" and "a potential album of the year".[27] Andrew Gaerig of Pitchfork wrote that "when they aim for powerful or poetic, they get there" and described High Violet as "the sound of a band taking a mandate to be a meaningful rock band seriously."[24] Steven Hyden of The A.V. Club called the album "carefully considered without being labored" and "richly detailed without being fussy".[18] The Guardian's Dave Simpson wrote that High Violet "is beautifully subtle" and "grows in power with each listen",[20] and The Independent's Andy Gill called it "a masterclass in subtle emotional shading".[28] Sputnikmusic writer Channing Freeman cited the album as the band's "third masterpiece in a row".[29]

High Violet appeared on several publications' year-end lists of the best albums of 2010. Time named it the fourth best album of the year,[30] and it also placed at number 15 on Rolling Stone's list of the 30 best albums of 2010.[31] Pitchfork placed it at number 28 on their list of the 50 best albums of 2010.[32] Exclaim! ranked High Violet at number 7 on their list of the Best Pop & Rock Albums of 2010, with critic Travis Persaud stating that it "continues the envious feat of releasing another album that's superior to its predecessor."[33] The album placed at number eight on The Village Voice's year-end Pazz & Jop critics' poll.[34] High Violet was awarded a Q Award for Best Album, an honor presented to the National by English musician Bernard Sumner.[35] The album was also included in the 2011 edition of the book 1001 Albums You Must Hear Before You Die. In 2019, Pitchfork ranked the album at number 147 on their list of "The 200 Best Albums of the 2010s".[36]

Chart history

[edit]

The album debuted at number three on the US Billboard and also debuted in Canada at number two, in Portugal at number three, and in Germany at number 10.[10][37][38] High Violet was certified gold in Canada, Denmark, Belgium, and the United Kingdom. In 2011 it was awarded a diamond certification from the Independent Music Companies Association,[39] which indicated sales of at least 200,000 copies throughout Europe. It has sold 326,846 copies in the U.S. as of September 2014.[40]

[edit]

A number of tracks from the album have featured variously throughout popular culture.

Track listing

[edit]
Standard edition
No.TitleWriter(s)Length
1."Terrible Love"Matt Berninger, Aaron Dessner4:39
2."Sorrow"Berninger, A. Dessner3:25
3."Anyone's Ghost"Berninger, Bryce Dessner2:54
4."Little Faith"Berninger, Carin Besser, A. Dessner4:36
5."Afraid of Everyone"Berninger, A. Dessner4:19
6."Bloodbuzz Ohio"Berninger, A. Dessner, Padma Newsome4:36
7."Lemonworld"Berninger, B. Dessner3:23
8."Runaway"Berninger, A. Dessner5:33
9."Conversation 16"Berninger, Besser, A. Dessner4:18
10."England"Berninger, A. Dessner5:40
11."Vanderlyle Crybaby Geeks"Berninger, Besser, A. Dessner4:12
Japanese edition bonus tracks
No.TitleWriter(s)Length
12."Walk Off"Berninger, A. Dessner2:40
13."Sin-Eaters"Berninger, A. Dessner3:40
Expanded edition bonus disc
No.TitleWriter(s)Length
1."Terrible Love" (Alternate Version)Berninger, A. Dessner4:18
2."Wake Up Your Saints"Berninger, A. Dessner4:14
3."You Were a Kindness"Berninger, A. Dessner4:25
4."Walk Off"Berninger, A. Dessner2:40
5."Sin-Eaters"Berninger, A. Dessner3:39
6."Bloodbuzz Ohio" (Live on The Current)Berninger, A. Dessner, Newsome3:53
7."Anyone's Ghost" (Live at Brooklyn Academy of Music)Berninger, B. Dessner2:58
8."England" (Live at Brooklyn Academy of Music)Berninger, A. Dessner5:27

Personnel

[edit]

The National

  • Matt Berninger – lead vocals
  • Aaron Dessner – guitars, keyboard, bass
  • Bryce Dessner – guitars
  • Bryan Devendorf – drums, percussion
  • Scott Devendorf – bass, guitar

Additional musicians

  • Tim Albright – trombone
  • Hideaki Aomori – clarinet, bass clarinet
  • Michael Atkinson – French horn
  • Thomas Bartlett – piano, keyboards
  • Mads Christian Brauer – electronics and filtering
  • CJ Camereri – trumpet, cornet
  • Greg Chudzik – double bass
  • Rachael Elliott – bassoon
  • Alex Hamlin – baritone saxophone
  • Marla Hansen – vocals
  • Maria Jeffers – cello
  • Bridget Kibbey – harp
  • Thom Kozumplik – percussion
  • Benjamin Lanz – trombone
  • Rob Moose – violin
  • Nico Muhly – celeste
  • Dave Nelson – trombone
  • Padma Newsome – violin, viola
  • Richard Reed Parry – double bass, electric guitar, piano, vocals, backing vocal arrangements (on "Conversation 16")
  • Kyle Resnick – trumpet
  • Nadia Sirota – viola
  • Alex Sopp – flute, bass flute
  • Laurel Sprengelmeyer (Little Scream) – vocals
  • Sufjan Stevens – harmonium, vocals, backing vocal arrangements (on "Afraid of Everyone")
  • Jeremy Thal – French horn
  • Justin Vernon – vocals
  • Produced by the National
  • Additional production by Aaron Dessner, Bryce Dessner, and Peter Katis
  • Recorded between March 2009 and January 2010 in Aaron's garage (Brooklyn, NY) by Peter Mavrogeorgis, Brandon Reid, Aaron Dessner, and Bryce Dessner
  • Additional recording at Tarquin Studios (Bridgeport, CT) by Peter Katis, and at Kampo Studios (NYC) by Patrick Dillett
  • Second engineer: Greg Georgio; assisted by Keith J Nelson
  • Additional vocal recording by Christian Biegai (Berlin, Germany)
  • Mixed by Peter Katis
  • Additional mixing by Greg Georgio
  • Mastered by Greg Calbi at Sterling Sound (NYC)
  • Orchestration by Bryce Dessner and Padma Newsome, except "Vanderlyle Crybaby Geeks" and "Lemonworld" by Nico Muhly
  • Cover sculpture – The Binding Force by Mark Fox
  • Photography by Keith Klenowski
  • Design by Distant Station Ltd.

Charts

[edit]

Certifications and sales

[edit]
Certifications for and sales of High Violet
Region Certification Certified units/sales
Belgium (BRMA)[64] Gold 15,000*
Canada (Music Canada)[65] Gold 40,000^
Denmark (IFPI Danmark)[66] Platinum 20,000‡
United Kingdom (BPI)[68] Gold 126,623[67]
United States (RIAA)[69] Gold 500,000‡

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

Release history

[edit]
Release history for High Violet
Country Date Label Format Catalogue #
Various May 10, 2010;
May 11, 2010 (United States) 		4AD CD CAD 3X03 CD
Limited CD (with foil-stamped slipcase and special poster) CAD 3X03 CDX
2LP (standard black vinyl) CAD 3X03
Limited 2LP (violet-coloured heavyweight vinyl) CAD 3X03X
Japan May 26, 2010 Beggars Japan/Hostess Entertainment CD (two bonus tracks) CAD 3X03 CDJ/BGJ-10082
Various November 22, 2010 4AD 2CD expanded edition CAD 3X49 CD

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

High Violet

View on Grokipedia
from Grokipedia
High Violet is the fifth studio album by the American indie rock band the National, released on May 11, 2010, by the record label 4AD. Recorded primarily at the band's studio in Brooklyn, New York, and at Tarquin Studios in Bridgeport, Connecticut, the album features production by the band alongside Peter Katis and features guest appearances from musicians Sufjan Stevens and Justin Vernon of Bon Iver. It consists of 11 tracks, including singles such as "Bloodbuzz Ohio" and "Terrible Love," exploring themes of anxiety, relationships, and displacement through Matt Berninger's baritone vocals and the band's signature blend of orchestral arrangements and post-punk influences. The album marked a commercial breakthrough for the National, debuting at number three on the US Billboard 200 chart and achieving number one positions on the Billboard Alternative Albums, , and Rock Albums charts, with first-week sales of 51,000 copies in the United States. Internationally, it reached number five on the , number two in , and number three in Ireland, reflecting the band's growing global audience following their previous release, Boxer (2007). Upon release, High Violet received widespread critical acclaim for its emotional depth and sonic ambition, earning an aggregated score of 85 out of 100 on based on 36 reviews, indicating "universal acclaim." awarded it 8.7 out of 10 and designated it "Best New Music," praising its "widescreen, emotionally engaging rock" and structurally intricate songs like "Sorrow" and "Afraid of Everyone." included it in their list of the 30 best albums of and later ranked it number 221 on their 250 greatest albums of the , highlighting its lush production and the band's evolution into "rousing-rock sad sacks." The album's influence persisted, with a 10th anniversary expanded edition released in 2020 featuring bonus tracks and live recordings, further cementing its status as a cornerstone of the National's discography.

Background and recording

Development

Following the success of their 2007 album Boxer, which elevated The National to wider recognition through extensive touring and critical acclaim, the band members entered a period of personal transition that shaped the inception of High Violet. Vocalist , who became a father to daughter Isla in 2007 with wife Carin Besser, grappled with newfound responsibilities and anxieties about middle-class American life, while guitarist and his bandmates navigated the pressures of family and career stability. These experiences, including Berninger's reflections on impending parenthood and broader existential worries, began influencing the project's direction as early as 2008, when the band sought to evolve beyond Boxer's polished introspection. The songwriting process commenced in 2008 with constructing a home studio in his garage, allowing the band to experiment freely without external constraints. Dessner and his twin brother Bryce, the band's guitarists, created initial instrumental demos—often wordless sketches with melody and structure—that served as foundations for the album's songs, with at least half of High Violet retaining elements from these early recordings. Berninger, the primary lyricist, received over 50 such demos and selected those that resonated, crafting lyrics that drew from his family life and pervasive anxiety themes, such as parental fears in "Afraid of Everyone," which Berninger has described as inspired by his experiences as a father. He described anxiety as a universal state, noting, "Anxiety and worry are common mental states... I don't know many people who wake up in the morning filled with confidence and glee." This approach marked a shift toward more personal yet broadly relatable narratives, contrasting Boxer's detachment. Key to the development was the band's decision to take primary production duties for High Violet, with assistance from on additional production and mixing, allowing greater creative control and spontaneity compared to his fuller role on prior records. Berninger and Dessner emphasized avoiding Boxer's "elegant, stately meditative" polish, opting instead for a scrappier, more iterative process at home, where they debated elements like versus guitar arrangements over extended sessions. This self-directed method, initiated in 2008, enabled the band to isolate for six weeks of focused ideation, setting the groundwork before formal recording began in 2009.

Recording sessions

The recording of High Violet took place over nearly two years, from March 2009 to January 2010, primarily at Aaron Dessner's home garage studio in , New York, which the band had converted into a dedicated space for the project. Additional sessions occurred at Tarquin Studios in , and Kampo Studios in , with some vocal overdubs recorded in , . The band handled production themselves for the first time on a full , with assistance from , emphasizing a collaborative, iterative process that involved extensive experimentation to capture raw performances. Peter Katis, who had previously collaborated with the band on Alligator and Boxer, served as an additional producer and handled mixing duties at his Tarquin Studios, contributing to the album's dense, textured sound while preserving the group's organic feel. To maintain live band energy during tracking, the National incorporated elements from band practices and demos directly into several songs, such as "Terrible Love," where guitarist improvised alongside drummer to foster spontaneity. This approach contrasted with more polished efforts on prior records, aiming for a "scrappier" quality described by vocalist as "loose wool or hot tar." The sessions featured contributions from a range of additional musicians, enhancing the album's orchestral depth. arranged guitar and orchestral elements, including darker instrumentation like and , while provided backing vocals and harmonium on "Afraid of Everyone." Other guests included on , , , and backing vocals for "," as well as a chamber ensemble featuring players like violinist , violist Nadia Sirota, and pianist Thomas Bartlett on tracks such as "Anyone's Ghost" and "Lemonworld." These collaborations were integrated during the Brooklyn sessions to build layered arrangements without overshadowing the core band's dynamic.

Composition

Musical style

High Violet exemplifies the genre through its expansive, widescreen soundscapes that blend brooding introspection with emotional depth. The album features slow-building arrangements that gradually unfold from sparse openings into lush crescendos, often augmented by orchestral swells of strings and horns for added grandeur. Frontman Matt Berninger's signature vocals anchor these structures, delivering a resonant, mournful tone that conveys vulnerability amid the rising tension. Intricate guitar work further defines the style, with layered textures creating a humming, atmospheric foundation that supports the album's dynamic shifts. Compared to the band's previous album, Boxer, High Violet represents an evolution toward a darker, more ornate aesthetic, expanding beyond Boxer's cool restraint into warmer, more colorful territory with greater allowances for . This progression incorporates subtle electronic elements, such as synth-choir backings and delayed guitar effects, alongside -driven ballads that emphasize melodic introspection. Tracks like "Terrible Love" illustrate these dynamic shifts, starting with a sparse and acoustic intro before erupting into a bombastic, orchestral climax. The result is a more structurally varied listen, slowing the pace at times while maintaining the artful songwriting that defined earlier work. Central to the album's sonic identity is the interplay between the Dessner brothers' guitars—Aaron and Bryce—whose multi-layered, intuitive playing crafts moody, immersive brilliance through nervous riffs and soaring lines. Drummer contributes precise, understated rhythms that provide a steady pulse, occasionally building to militaristic intensity to propel the arrangements forward without overpowering the ensemble. These elements integrate seamlessly with , bass, and occasional horn sections, fostering a cohesive yet intricate palette that underscores the music's emotional resonance.

Lyrics and themes

The lyrics of High Violet, penned primarily by vocalist , delve into the complexities of middle-aged anxiety, , love, and domesticity, capturing the tensions of personal evolution and familial bonds. Berninger has described the album's core as explorations of "trying to figure out who you are and if home is a place," reflecting a pervasive sense of unease amid life's transitions. Songs like "Bloodbuzz Ohio" evoke for and roots, with Berninger portraying a struggle "stuck between an old version of yourself and the one you’re becoming," while guitarist frames it as "an existential nostalgic about where we’re from, about and the way America is so frayed and divided." Similarly, "Sorrow" embodies , depicting a "relationship with their own sadness" that one embraces rather than rejects, underscoring and inward turmoil. Berninger's abstract, poetic style employs recurring motifs of violence, escape, and strained relationships to convey these themes with layered ambiguity, allowing listeners to project their own experiences onto the words. In tracks like "Afraid of Everyone," subtle imagery of inner violence emerges—"Screaming like a storm through my head"—tied to the desire to shield loved ones from personal demons, while broader motifs of escape appear in longing for reconnection amid relational fractures. He crafts fluid, empathetic lyrics designed to "absorb" emotions, prioritizing evocative phrases over literal narratives to heighten the album's introspective depth. These themes draw heavily from Berninger's personal life, including his roots and the band's shared experiences of family and relocation, infusing the work with authentic midlife reflections. Fatherhood, a new reality for Berninger during the album's creation, subtly permeates lines about protection and domestic vulnerability, such as carrying "my kid on my shoulders" in a world of perceived threats. The Dessner brothers' upbringing similarly informs motifs of homesickness and division, as notes the state's "beautiful place with amazing people, but also hard problems." Overall, the lyrical content aligns with the album's musical builds, amplifying emotional crescendos through Berninger's delivery.

Release and promotion

Marketing and singles

The National announced their fifth studio album, High Violet, in March 2010 alongside the reveal of its , "Bloodbuzz Ohio", which was made available for digital download on March 24. The album followed a limited vinyl-only preview edition, pressed on violet-colored heavyweight vinyl and released exclusively in the UK and on May 7. High Violet arrived in full on May 10 in through Cooperative Music and on May 11 in the United States via , marking a strategic rollout that emphasized physical formats for early adopters while building anticipation through digital channels. The lead single "Bloodbuzz Ohio" received a physical 7-inch vinyl and wider digital release on May 3, featuring a B-side of "Sin-Eaters" and garnering attention for its driving rhythm and vocals. Subsequent singles included "Anyone's Ghost", issued digitally on June 28, and "Conversation 16", released on October 25 as a digital single backed by a directed by Scott Jacobson. "Terrible Love (Alternate Radio Mix)" followed as a single on January 24, 2011. These releases maintained momentum by highlighting the album's thematic depth and sonic range, with "Bloodbuzz Ohio" establishing the record's urgent tone early on. Promotional efforts centered on exclusive access and collector appeal, including digital pre-orders via platforms like that offered immediate track downloads upon purchase. A limited edition expanded CD version, packaged in a deluxe O-card with bonus tracks, became available in November 2010 to extend the campaign. Key tactics also involved an early full-album stream on NPR's First Listen series starting May 2, allowing listeners a preview just days before release and amplifying buzz through public radio's audience. These strategies transitioned seamlessly into the band's touring schedule, which kicked off with album-supporting shows shortly after launch.

Touring

The High Violet Tour commenced in May 2010, shortly following the album's release, with initial dates in including a performance in on May 5. The tour extended through 2011, encompassing extensive dates across and , as well as appearances at major festivals such as in the UK on June 26 and Sasquatch! in the on May 29. Setlists during the tour heavily featured material from High Violet, with tracks like "Runaway," "Bloodbuzz Ohio," "Anyone's Ghost," and "Terrible Love" forming the core of performances, often comprising over half the show to showcase the new songs. As the tour progressed, the band incorporated a broader selection from earlier albums, such as "Apartment Story" from Boxer and "Slow Show" from Alligator, allowing for an evolving mix that balanced promotion of the latest release with fan favorites. Touring members Ben Lanz on and synthesizers and Kyle Resnick on , keyboards, and backing vocals joined the core band for enriched live arrangements, occasionally expanding to include string and brass sections for larger venues. Notable highlights included a sold-out headline show at New York City's on June 16, 2010, which underscored the band's rising prominence. The tour significantly broadened The National's international reach, drawing larger crowds in and and establishing them as festival headliners amid growing global acclaim for High Violet.

Reception

Critical reception

Upon its release, High Violet received widespread critical acclaim, earning an aggregate score of 85 out of 100 on based on 36 reviews, with critics frequently praising its emotional depth and the band's artistic maturity. Reviewers highlighted the album's from prior works, noting its refined blend of and sonic expansiveness as a marker of The National's growth into a more assured outfit. Pitchfork awarded the album 8.7 out of 10, commending its lyrical intimacy and the way frontman Matt Berninger's words captured personal neuroses and everyday struggles with relatable precision, rendering the music emotionally engaging on a grand scale. Similarly, The Guardian gave it 4 out of 5 stars, lauding the orchestral grandeur and subtle power in tracks built from humming guitars, pianos, militaristic drums, and occasional orchestration, which grew more compelling with repeated listens. Despite the overwhelmingly positive response, some critics pointed to minor flaws, such as the album's deliberate pacing occasionally bordering on repetitiveness. Entertainment Weekly, in a mixed review scoring it 83 out of 100, observed that the sumptuous layers and stately tempos could feel almost funereal, making the record slow to fully reveal its strengths.

Commercial performance

High Violet debuted at number three on the US Billboard 200 chart, selling 51,000 copies in its first week, marking the band's highest charting position in the United States at the time. It also debuted at number one on the Billboard Alternative Albums, Independent Albums, and Rock Albums charts. This performance represented a significant commercial breakthrough compared to their previous album Boxer, which peaked at number 68. Internationally, the album achieved strong chart success, reaching number five on the Albums Chart, number two in , number three in Ireland, number three in (Flanders), and number two in , entering the top ten in multiple European countries. The album has been certified gold in the United States by the RIAA for shipments exceeding 500,000 units, in by for 40,000 units, and in the by the BPI for 100,000 units. As of 2010 estimates, it had sold over 330,000 copies in the US.

Album content

Track listing

All tracks are written by members of the band unless otherwise noted, with primarily by and composed by the Dessner brothers or collaborators; the album was produced by The National and .
No.TitleWriter(s)Length
1."Terrible Love"lyrics: Berninger; music: A. Dessner4:40
2."Sorrow"Berninger, A. Dessner3:25
3."Anyone's Ghost"lyrics: Berninger; music: B. Dessner2:54
4."Little Faith"lyrics: Berninger, Besser; music: Berninger, A. Dessner4:37
5."Afraid of Everyone"Berninger, A. Dessner4:19
6."Bloodbuzz Ohio"lyrics: Berninger; music: A. Dessner, Newsome4:36
7."Lemonworld"lyrics: Berninger; music: B. Dessner3:24
8."Runaway"Berninger, A. Dessner5:34
9."Conversation 16"lyrics: Berninger, Besser; music: Berninger, A. Dessner4:19
10."England"lyrics: Berninger; music: A. Dessner5:40
11."Vanderlyle Crybaby Geeks"lyrics: Berninger, Besser; music: A. Dessner4:12
The standard edition has a total runtime of 47:34. The expanded edition, released on November 22, 2010, appends a bonus disc with eight additional tracks, including outtakes like "" (3:39), "" (4:26), and "Wake Up Your Saints" (4:14), along with alternate and live versions of select songs.

The National

Additional musicians

  • Padma Newsome – violin, viola, orchestration
  • – harmonium, vocals (on "Afraid of Everyone")
  • – backing vocal arrangements (on "Conversation 16"), guitar, bass, percussion
  • – orchestration (on "England" and "Vanderlyle Crybaby Geeks"), piano, keyboards
  • – vocals (on "Vanderlyle Crybaby Geeks")

Production

Legacy

Cultural impact

Tracks from High Violet have appeared in various television series and films, contributing to the album's permeation into popular media. The song "Vanderlyle Crybaby Geeks" featured in the season 2 finale (Episode 12, "Reset") of the series , playing during a climactic moment of resolution after the characters escape danger. Similarly, "Runaway" was incorporated into the 2013 romantic zombie comedy film , where it underscores an emotional sequence toward the film's conclusion, enhancing the narrative's themes of connection and vulnerability. The album's songs have inspired covers by other artists, demonstrating its resonance beyond The National's original recordings. British singer-songwriter Birdy included a stripped-down rendition of "Terrible Love" on her self-titled 2011 debut album, transforming the track's brooding intensity into a piano-led that highlights its lyrical intimacy. This cover helped introduce the song to a broader audience, appearing on Birdy's platinum-certified release. High Violet also fostered collaborations that exemplified its influence on contemporary , blending emotional songwriting with communal artistry. Bon Iver's provided harmonies on "Vanderlyle Crybaby Geeks," infusing the track with his signature and reinforcing the album's exploration of personal turmoil through layered vocals. Such partnerships underscored the record's role in bridging key figures within the indie scene, inspiring tributes like the band's 2013 piece at the , where they repeated "Sorrow" over 100 times in a six-hour endurance event that examined themes of repetition and catharsis, which was released as a limited-edition 9LP in 2015 with profits benefiting .

Reappraisal

In the decade following its release, High Violet received widespread critical reappraisal as a cornerstone of The National's discography, often hailed as their masterpiece for its emotional depth and innovative arrangements. Publications marking the album's tenth anniversary in 2020 emphasized its enduring relevance amid personal and societal turmoil, with Stereogum describing it as a "bright, simmering storm" that balanced and restraint more effectively than prior efforts, cementing the band's evolution into a major force. Similarly, NME's interview with frontman portrayed the record as a transformative , crediting its themes of identity and change for propelling the group from cult favorites to festival headliners while resonating with listeners through accessible vulnerability. The album's lasting acclaim is evident in its frequent inclusion in retrospective "best of" rankings, underscoring its influence on indie music. It ranked number 3 in Uncut's reader poll for Top 50 Albums of , where fans voted it among the premier indie albums of the year for its brooding lyricism and orchestral swells. placed High Violet at No. 147 on its list of the 200 Best Albums of the , praising its hazy, immersive quality as a reflection of the band's newfound creative confidence and broader sonic palette. By 2025, reappraisals continued to affirm High Violet's pivotal role in The National's career arc, with no major remasters announced but its expanded edition—featuring rare tracks like alternate mixes and live recordings—sustaining fan engagement through deluxe vinyl formats. Albumism's fifteenth-anniversary highlighted the record's multidimensional complexity, noting its exploration of existential dread via Berninger's introspective narratives and the Dessner brothers' experimental production, which laid groundwork for later works like by expanding the band's thematic maturity and commercial viability. This trajectory positioned High Violet as the fulcrum of The National's ascent, enabling bolder artistic risks in subsequent albums while maintaining the intimate urgency that defined their breakthrough.

References

  1. https://4ad.com/releases/922
  2. https://pitchfork.com/reviews/albums/14203-high-violet/
  3. https://thenational.bandcamp.com/album/high-violet
  4. https://pitchfork.com/news/38856-the-national-crash-the-billboard-album-chart-at-number-three/
  5. https://www.officialcharts.com/albums/national-high-violet/
  6. https://www.metacritic.com/music/high-violet/the-national
  7. https://www.rollingstone.com/music/music-lists/30-best-albums-of-2010-148055/
  8. https://www.theguardian.com/music/2010/apr/22/the-national-interview
  9. https://thequietus.com/interviews/the-national-interview-high-violet-bon-iver-sufjan-stevens/
  10. https://www.dallasobserver.com/music/the-nationals-matt-berninger-talks-about-fatherhood-and-avoiding-expectations-7055191/
  11. https://www.mixonline.com/recording/capturing-dark-beauty-national-366416
  12. https://www.discogs.com/release/2286896-The-National-High-Violet
  13. https://www.allmusic.com/album/high-violet-mw0001976111
  14. https://www.discogs.com/release/2275871-The-National-High-Violet
  15. https://4ad.com/releases/509
  16. https://www.discogs.com/release/2268169-The-National-High-Violet
  17. https://www.theguardian.com/music/2010/may/06/national-high-violet-cd-review
  18. https://guitar.com/reviews/album/the-genius-of-the-national-high-violet/
  19. https://www.stereogum.com/2082444/the-national-high-violet-review-10/reviews/the-anniversary/
  20. https://albumism.com/features/the-national-high-violet-album-anniversary
  21. http://drownedinsound.com/in_depth/4139479-first-listen--the-national-high-violet
  22. https://chorus.fm/reviews/the-national-high-violet-2/
  23. http://www.dustedmagazine.com/reviews/5680
  24. https://www.tastemakersmag.com/articles/high-violet-the-national
  25. https://www.nme.com/features/the-national-matt-berninger-interview-2020-high-violet-tour-2659042
  26. https://www.uncut.co.uk/features/the-national-how-we-made-bloodbuzz-ohio-139706/
  27. https://www.songfacts.com/facts/the-national/sorrow
  28. https://4ad.com/news/31
  29. https://rateyourmusic.com/release/single/the-national/bloodbuzz-ohio/
  30. https://www.discogs.com/release/2267150-The-National-High-Violet
  31. https://www.discogs.com/master/246228-The-National-High-Violet
  32. https://genius.com/The-national-anyones-ghost-lyrics
  33. https://www.imdb.com/title/tt10213452/
  34. https://itunes.apple.com/gb/album/high-violet/id368054407
  35. https://www.amazon.com/High-Violet-Expanded-LIMITED-National/dp/B0043YGT1I
  36. https://www.npr.org/2010/05/02/126220062/first-listen-the-national-high-violet
  37. https://www.spin.com/2010/04/national-add-summer-tour-dates/
  38. https://www.setlist.fm/setlist/the-national/2010/worthy-farm-pilton-england-3d40947.html
  39. https://www.setlist.fm/setlist/the-national/2010/the-gorge-amphitheatre-george-wa-2bd4302e.html
  40. https://www.setlist.fm/stats/average-setlist/the-national-53d69b79.html?tour=23de78df
  41. https://www.concertarchives.org/bands/the-national
  42. https://thenewlofi.com/the-national-finish-high-violet-tour/
  43. https://weallwantsomeone.org/2010/06/17/the-national-radio-city-music-hall-6162010/
  44. https://www.rollingstone.com/music/music-news/justin-bieber-the-national-top-charts-as-album-sales-slide-82697/
  45. https://top40-charts.com/news.php?nid=56484
  46. https://www.billboard.com/music/music-news/the-national-heads-of-state-958491/
  47. https://acharts.co/album/55080
  48. https://festileaks.com/2020/05/10-years-of-high-violet-by-the-national/
  49. https://bestsellingalbums.org/album/47068
  50. https://davesmusicdatabase.blogspot.com/2010/05/the-national-high-violet-released.html
  51. https://musicbrainz.org/release/6e8db71f-6d59-40b8-aa4e-1b9d56cdded3
  52. https://www.tunefind.com/show/warehouse-13/season-2/6375
  53. https://genius.com/The-national-runaway-lyrics
  54. https://secondhandsongs.com/work/121343/all
  55. https://thequietus.com/news/the-national-reveal-high-violet-collaborators/
  56. https://www.theguardian.com/music/2013/jul/11/national-six-hours-one-song-performance
  57. https://www.theguardian.com/music/2015/apr/10/the-national-to-release-nine-lp-box-set-a-lot-of-sorrow-ragnar-kjartansson-moma
  58. https://www.uncut.co.uk/features/your-top-50-albums-of-2010-35186/
  59. https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/
  60. https://4ad.com/news/1060
Add your contribution
Related Hubs
User Avatar
No comments yet.