I don’t know how the compilation, “Reprises Inrocks”, ever ended up in my Apple music library*, which song it was that led me to track down the two disc compilation, but it did. And I did. And though, I don’t listen to it all the way through all that often, there are some great tunes on there that are not available anywhere else.
It was released in 2007 by French music and culture magazine, Les Inrockuptibles, whose pages upon whom I have admittedly never glanced, though I have admired a few of their other compilations in the past, most notably the wicked Leonard Cohen and The Smiths tribute albums, “I’m your fan” and “The Smiths is dead”. The twenty five tracks on this one are all covers, some by bands I love and others not, and many are ones that may not seem like they could work on paper, but somehow do nonetheless. Examples include: Ray Lamontagne’s stripped down take on Gnarls Barkley’s “Crazy”, Jose Gonzalez’s unplugged version of Massive Attack’s “Teardrop”, Nina Gordon channelling Frente but doing NWA’s “Straight outta Compton”, and Calexico’s spanish guitar folk rendition of The Clash’s “Guns of Brixton”.
One of the few tracks that I knew would work from the very beginning was Cincinnati, Ohio’s The National taking a crack at The Psychedelic Fur’s classic, “Pretty in pink”. I was still relative new to The National at this point, having just delved into their fourth studio album, “The boxer”, but I was already hooked on their dark and atmospheric sound and completely sold on the rich vocals of frontman Matt Berninger. Even though his voice is quite different from that of Richard Butler, more lounge and laconic than rough and punk, it still feels exactly right for the song.
Originally written and released in 1981, “Pretty in pink” gained a greater following and notoriety when it was re-recorded a few years later for inclusion on the soundtrack for the John Hughes teen 80s film of the same name. Both Furs’ versions are hard to argue with, raw and more guitar heavy, and more upbeat than The National’s cover. The song is a post punk classic and likely a huge inspiration for a band who have long since penned a bunch of post punk revival classics of their own.
I think both of these recordings are incredible and full of life, one sunny and one rainy, but I have to go with the original here, mostly for the nostalgia factor for me.
Cover:
Original:
*It would’ve been iTunes way back then.
For the rest of the 100 best covers list, click here.
It’s now officially the last month of the year and you know what that means… the start of the infamous end of the year extravaganza.
I’ve been doing this thing, counting down my favourite albums of the year for every year that this blog has been in existence. Indeed, I’ve even been doing it for longer if you count the years that I was ranking my favourite annual releases on my old blog, Music Insanity.
This additional post I’ve allowed myself, though, kicking things off and sharing some additional great albums that didn’t quite make the top ten is something I started last year and have decided to carry it forward into this year. As you might’ve guessed by now, I do enjoy making lists but sometimes I find my own rules constricting and worry that they result in some excellent releases not getting their due on these pages.
So… these five albums are just some of the great ones that deserve some honourable mention, ones that if you haven’t listened to them yet, I highly recommend you do. They are not ranked but listed alphabetically. The ranking will start with the next post.
Emma Anderson “Pearlies”: Emma Anderson was a founding member and principal songwriter of 90s shoegaze icons Lush and then, one half of indie pop duo Sing Sing in the 2000s, and here in 2023, we’re finally getting her debut solo album and it’s just as fantastic as you’d suspect. Check out: “The presence”
Nation of Language “Strange disciple”: The third album by the Brooklyn-based indie pop trio sees the group building upon their OMD-influenced sound, moving in slightly different directions, but just enough to keep their tight, synth pop tunes fresh. Check out:“Weak in your light”
The National “First two pages of Frankenstein”: It’s been four years since their last record and members of The National had themselves admitted to finding the well a bit dry. However, 2023 has seen them release two new albums*, though in my opinion, “First two pages of Frankenstein” is the more compelling of the two. Check out: “New Order T-shirt”
Postdata “Run wild”: Wintersleep frontman Paul Murphy started Postdata as a side project in 2010 and “Run wild” is the fourth in a string of very excellent introspective and atmospheric albums that he has released since. Check out: “Try”
The Rural Alberta Advantage “The rise & the fall”: To put together their first full-length album since 2017, the Toronto-based indie folk rock trio added an additional seven tracks to the six already released as an EP last year and the results are more of the frenetically told tales of Canadian minutiae that we know and love. Check out: “Real life”
*The other is “Laugh track”, released in mid-September.
I’ll be back very soon with albums #10 through #6 for my Best albums of 2023 list. In the meantime, you can check out my Best Albums page here if you’re interested in my other favourite albums lists.
Every time The National releases a new album, I needlessly worry that it can’t possibly be better than their last, that perhaps this time, they’ll finally release a disappointing album, and then, they come up with something that somehow, unbelievably, improves on the last. Such has been my experience with the five-piece, Cincinnati-based indie band, ever since I got into them shortly after the release of their 2007 album, “Boxer”. I’ve since gone back to explore their back catalogue and can attest that, at least for myself, this theory holds true for their pre-“Boxer” work as well.
For those not in the know, The National has made a name for themselves with their dark, brooding, atmospheric music. Early on, they were compared to well-established, influential artists like Leonard Cohen, Nick Cave, and Joy Division, likely mostly due to the lush, baritone vocals of frontman Matt Berninger, but I think his intricate lyric work is another comparison point worth noting. I’ve heard it said that some people find their songs’ meanings too ambiguous but I’ve always liked the images that are invoked and the sometimes conversational tone Berninger takes, as if recounting a story to mates over pints. Yes, they create dark places in all corners of their music… and yet… there’s something oddly uplifting about it all.
If “Boxer” woke the world up to the beautiful music The National was making, “High violet” cemented them in our collective musical consciousness, breaking them into the mainstream but somehow keeping their indie “cred” intact. This album was well reviewed by both Pitchfork and Spin alike and sold very well with the music-buying public. For me, “High violet” is an almost perfect album. There are absolutely no weak songs in the batch. It is an album that is dense with instrumentation, each layer beautifully rendered and thickly applied so as not to be missed. The songs are all miniature symphonies with Berninger’s rich vocals serving as both the centrepiece and yet another cog in the complicated puzzle. I love to turn the volume up, close my eyes, and lose myself in this music, listening to the intense intricacies and discovering new nuances every time.
I consider myself truly blessed that I’ve gotten to see The National perform these and many other of their past and future songs a few times over the years. For those who haven’t had the pleasure, I definitely recommend you do so at your next opportunity. The experience is almost without description.
Anyhoo, here’s my three picks for you out of the eleven fantastic tracks on “High violet”.
“Bloodbuzz Ohio”: Track six starts cranked up with a crazy drum rhythm set against a thin layer of reverberating keys and keeps that same level throughout, and then, Matt Berninger peeks in with those aforementioned conversational vocals, allowing the rich textures in his voice to seep into every pore of the melody. “I still owe money to the money, to the money I owe. I never thought about love when I thought about home.” I don’t know what the heck he is referring to – if it’s personal or if it’s just words that match that melody – but damned if he doesn’t resonate. Especially when you are in the middle of a crowd shouting/screaming/singing along with those words and throwing them into the wall of sound that The National magically creates live.
“Conversation 16”: Speaking of conversational tone, this song’s lyrics sound like random snippets of dialogue picked up from different tables at a morning cafe and jumbled up into one disjointed narrative but one that paints a delicious Norman Rockwell-like image, wrought in the normal National hues. Back when this song appeared at number 22 on my list of favourite tunes for 2010, I wrote how the song reminded me of an exercise assigned to me back when I was a Creative Writing major back in university. Starting from “I think the kids are in trouble” and ending with “‘Cause I’m evil”, the ‘scratching, reverberating guitars and ominous drumming’ carries the conversation along on an almost sinister wavelength, making the banal seem gorgeous and exceptional.
“Runaway”: “We got another thing coming undone. And it’s taking us over. And it’s taking forever.” Track eight was my third favourite song of 2010 and back then, I described “Runaway” as a dirge. Bass drums thumping and laying down life as we know it. Acoustic finger picking, lilting through the dry ice fog and suddenly there’s a hint of horns, a taps for a new generation, sad but uplifting. The track reminds me of R.E.M.’s ability to imbue even the most quiet and delicate track with fiery passion and angst. It slowly builds but not in bombast or speed, no matter how much you think it could explode at any moment, it never does. It is simply beautiful.
Stay tuned for album #2. In the meantime, here are the previous albums in this list:
My (life in) music lists 