Tracks
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The topic of the album is obviously not necessarily in a 1: 1 relationship with reality, as it looks at the home of the Berninger & Besser couple (for a good word: the couple are still together), but perhaps rather in a fantasy about the fatal consequences if you do not tackle the root of the problem. Writing songs together is perhaps the best therapy?
No matter what: The 'Sleep Well Beast' lyric is rich in hints, not to say untouched signals, about a marriage in crisis.
Many of the songs are centered around the doubt and the frustration that is creeping in a relationship, not necessarily because one can no longer stand each other, but perhaps because it has been wrapped in someone's thoughts, habits and worries day out and Day in is a mentally expensive affair.
On the album's best enough offer for an upcoming live favorite, 'The Day I Die', Berninger unfolds the nostalgia after a past that one can never return to and feelings that one can not easily recover. But it's also a song about how hard the present one's plant is (splendidly, if you're only halfway there), spicy with confused fantasies to let go and let The desire to take control: "Young mothers love me / even ghosts of girlfriends call from Cleveland / They will meet me anytime, anywhere" - a line that is typical of Berninger's way, both a little desperate, a little sad, rather self-assertive and understated humorous in the sense that the singer implicitly exhibits his rock star perseverance and the perks that come with him.
Perhaps the very good album's push-and-pull between being self-taught and invested in a 'vi two': 'When my story,' the repeated line, 'The day I die, the day I die / where will we be?' reaches the last page, our story also ends'.
Musically, The National is better than ever to put the berries in stage and in relief. 'Sleep Well Beast' is for a long time a dimmed affair, but only in the sense that the pace is slow and the look is struck down, just below the surface there is a life without stomach. Divering man listening to the sensual moods of these songs is the yield as good as without ending.
The more experimental and curious song-building on tracks like 'Walk It Back' (where Berninger gives a not-convincing bid for parental crisis management: 'I'll Still Destroy You '(tones into a coconut of haunted strings) and the title and end number, which, with its statically cracking electronica bundle, successfully transmits The National to' Kid A 'related waters, emphasizes the impression of a band , who knows its strengths, yet is in constant motion.
In addition, a clumsy variation in the sequencing of the album ensures that The National in this ambience never fades into an introspective bubble of self-esteem or sadness. The guitar tune of 'The Day I Die' sends an electric charge through the body, the more inventive guitar sounds (including a solo one can almost stab) on 'The System Only Dreams in Total Darkness' and the surprisingly raw rock on 'Turtleneck' (the only song written post-trump; see, it can explain the more outgoing style!) creates a dynamic dynamic variety. The latter will surely share the waters in the fan, but the more you listen to the almost Pixies manic song, the more you will smile the butter and tie the fist (if you do not feel the urge to shout 'fuck yeah!' To his own mirror image in the bathroom).
'Sleep Well Beast' shows a concentrated and focused The National, while at the same time seeing the ability to look sideways and around the corner to find new motives and shed new light on things that could be heard in less capable hands by routine on it not just exciting way.
No matter what: The 'Sleep Well Beast' lyric is rich in hints, not to say untouched signals, about a marriage in crisis.
Many of the songs are centered around the doubt and the frustration that is creeping in a relationship, not necessarily because one can no longer stand each other, but perhaps because it has been wrapped in someone's thoughts, habits and worries day out and Day in is a mentally expensive affair.
On the album's best enough offer for an upcoming live favorite, 'The Day I Die', Berninger unfolds the nostalgia after a past that one can never return to and feelings that one can not easily recover. But it's also a song about how hard the present one's plant is (splendidly, if you're only halfway there), spicy with confused fantasies to let go and let The desire to take control: "Young mothers love me / even ghosts of girlfriends call from Cleveland / They will meet me anytime, anywhere" - a line that is typical of Berninger's way, both a little desperate, a little sad, rather self-assertive and understated humorous in the sense that the singer implicitly exhibits his rock star perseverance and the perks that come with him.
Perhaps the very good album's push-and-pull between being self-taught and invested in a 'vi two': 'When my story,' the repeated line, 'The day I die, the day I die / where will we be?' reaches the last page, our story also ends'.
Musically, The National is better than ever to put the berries in stage and in relief. 'Sleep Well Beast' is for a long time a dimmed affair, but only in the sense that the pace is slow and the look is struck down, just below the surface there is a life without stomach. Divering man listening to the sensual moods of these songs is the yield as good as without ending.
The more experimental and curious song-building on tracks like 'Walk It Back' (where Berninger gives a not-convincing bid for parental crisis management: 'I'll Still Destroy You '(tones into a coconut of haunted strings) and the title and end number, which, with its statically cracking electronica bundle, successfully transmits The National to' Kid A 'related waters, emphasizes the impression of a band , who knows its strengths, yet is in constant motion.
In addition, a clumsy variation in the sequencing of the album ensures that The National in this ambience never fades into an introspective bubble of self-esteem or sadness. The guitar tune of 'The Day I Die' sends an electric charge through the body, the more inventive guitar sounds (including a solo one can almost stab) on 'The System Only Dreams in Total Darkness' and the surprisingly raw rock on 'Turtleneck' (the only song written post-trump; see, it can explain the more outgoing style!) creates a dynamic dynamic variety. The latter will surely share the waters in the fan, but the more you listen to the almost Pixies manic song, the more you will smile the butter and tie the fist (if you do not feel the urge to shout 'fuck yeah!' To his own mirror image in the bathroom).
'Sleep Well Beast' shows a concentrated and focused The National, while at the same time seeing the ability to look sideways and around the corner to find new motives and shed new light on things that could be heard in less capable hands by routine on it not just exciting way.