The National bounce back with ninth studio album, ‘First Two Pages of Frankenstein’
After two years since their last album, I am Easy to Find, and their lead singer, Matt Berninger’s, recovery from a case of writer's block, the band has returned with an album that combines their propulsive instrumentals, and profound lyricism. First Two Pages of Frankenstein, dives into the dark corners of personal struggles, and the most pragmatic moments of a life.
They kick it off with “Once Upon a Poolside”; from the jump we hear the classic melancholic voice of Berninger. The song seems to be an examination of a relationship on the brink, “Am I asking for too much?” Accompanied by Sufjan Stevens, with almost missable vocals, it is a step up from their most recent work in the last few years, and a demonstration of the bands powerful sound.
They then examine the most complex parts of a dissolving relationship. In “Eucalyptus”, Berninger questions how two people are supposed to split up their shared possession after their break up. “What about the ornaments?/ What if I reinvented again?” exhibits one last attempt at making things work by proposing to change. With Bryan Devendorff on the drums, he follows Berninger’s repetitive questions of the “what ifs” with a build up, summoning the drop before the end of it all.
Similarly, “New Order T-shirt” holds a stark imagery about holding onto the memories of a loved one, a possible ode to Berningers wife Carin Besser (who he often co-writes with), and everything they have experienced together. In fact, he describes this need to hold onto these moments “like drugs in a pocket” - an addiction that can't be put down.
The track “Ice Machines'' that shows up later on in the album, claims the opposite, as Berninger sings about all the things he doesn't need, and reflects on his affect on others, “I don’t know what to say to people/ It only makes things worse.”
With a strong list of appearances on the LP, “This isn’t Helping” features Phoebe Bridgers, who, similarly to Stevens, plays a derivative role. Nonetheless Bridgers soft voice grows gradually louder in the second verse, and offers a soft accompaniment to Berninger. The lyrics themselves evoke depictions of human frailty, the weak spots of trying to forget a lover, and the others' desultory attempt at forging a gap between the relationship. “I’ll always see you around” is a heartbreaking admittance of how hard it is to stop loving someone when they can’t help but admire them.
Shifting towards more personal experiences, the band create a sense of disorientation and dread, mainly through the music as the instrumental arrangements in this album take up less space than they have before. “Tropic Morning News” reflects on our world's social strain in an era of doom scrolling. Berninger admits, “I’d like to have nothing to do with it” as he feverishly descends into uncertainty about how to move forward and what to do about all of it. They show off their impeccable artistry with the atmospheric electronics used throughout the song.
The band’s star-studded list of features would not be complete without Taylor Swift making an appearance on “The Alcott ''- this is their second collaboration after having worked together on “Coney Island” for Swift’s Evermore. Similar to their first collaboration, “The Alcott” is a duet between two people’s unconcealable attraction even after a supposed falling out. It is both deeply engraved by Swifts lyricism, yet still very much a National song, as Berninger and Swift take turns revealing the points of view of each person within this relationship “it's the last thing you wanted/ it's the first thing I do” (Berninger) “give me some tips to forget you” (Swift). It is the only feature on the album that has a distinct voice of its own, as both vocalists balance each other out.
The last two tracks “Your Mind is Not Your Friend”, (Bridgers second feature on the album) and “Send For Me”, encompass the lonely and dark parts of the human condition. The National do not seek out to find a solution for that hopeless feeling, instead they offer comfort and reassurance. In “Send For Me,” Berninger does not shun vulnerability, and sings, “Run out, run out, run out to me” Here, they accelerate their music through their evocative depictions of our instinctual need to be around others, and that no matter what, someone is there for you.
First Two Pages of Frankenstein, sees the Brooklyn indie-band return to the height of their creative power. It is a poignant reflection of the complex emotions that reside within us, while they continue to capture listeners with their unique sound.