"LOOKING FOR ASTRONAUTS" THE NATIONAL (2005)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Alligator was the first key turning point in The National’s evolution as a rock band. The layers of alt country were shedding away and being replaced by an edgier rock sound that would continue to bloom on Boxer. Unlike Boxer, Alligator was an album that I became acquainted with years after it was released. This sort of discovery is like flipping back at earlier entries in a journal. On Alligator, we see some of The National’s most brash lyrics (think “Mr. November” and “All The Wine”) as well as some of their most mysterious, including “Looking For Astronauts”.

While Berninger’s lyric writing has improved by leaps and bounds with each album, what strikes me most about “Looking For Astronauts” is how similar it is to current era National. Berninger’s vocal delivery is more or less the same. Bryan’s unexpected rhythms are there. And the intricate strumming is reminiscent of many songs from the band’s past ten years. What’s different, however, is Berninger’s lyrics seem more esoteric here. Is he speaking literally or figuratively, or both? I only discovered today that Berninger knew Neil Armstrong, a friend of his uncle. Coincidence? Maybe not.

“You know you have a permanent piece
Of my medium-sized American heart.”

"LIGHT YEARS" THE NATIONAL (2019)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

Year: 2019

A couple of months before the pandemic, I saw The National at NYC’s legendary Beacon Theater. They showed excerpts from a short film directed by Mike Mills, featuring songs from I Am Easy To Find—and ended with just a small handful of the fan favs. That night, I saw an evolution of the band that I’ve loved for many years. It’s not that they lost their edge, but they were older, wiser and more contemplative now—and “Light Years” was their beautiful banner statement for this new era.

The National will be back in NYC this summer, and it’s almost certain they will play “Light Years”. It represents an aspect of what they do best: ballads that speak on a deeply personal level, not some contrived set of words. I do miss the harder, louder, faster side of the band which has taken a back seat on the last two albums. But “Light Years” – with Berninger’s masterful lyrics, the piano interludes and atmospheric accents – is a reminder that few bands do ballads better than The National.

“I was always ten feet behind you from the start.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“You get mistaken for strangers by your own friends When you pass them at night Under the silvery, silvery Citibank lights.”

"APARTMENT STORY" THE NATIONAL (2007)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

This was one of the first National songs I heard. Boxer still remains one of my favorite albums from the band. Over the last couple of album releases, the band has mellowed out and certainly lived up to the reputation as sad dad rockers. There’s a lot of great songwriting on their latest record, but I miss the more energetic side of the band - and even just some of the great mid-tempo jams like the somewhat underrated track, “Apartment Story”.

In the recent New Yorker magazine article that highlighted the band, bassist Scott Devendorf described his brother Bryan Devendorf’s drumming style as “machine organic”. It’s a perfect summary of the unique percussion style that drives “Apartment Story” and so many National songs. The drumming seems to accentuate the malaise and exhaustion of trying to be social, but then finding comfort in that one person who you can just be yourself with. It’s not among my favorite National songs, but it has everything I love about them.

“Tired and wired, we ruin too easy. Sleep in our clothes and wait for winter to leave.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“You get mistaken for strangers by your own friends When you pass them at night Under the silvery, silvery Citibank lights.”

"BLOODBUZZ OHIO" THE NATIONAL (2010)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 8: Cincinnati, OH

I have no direct ties to the state of Ohio. And I still have no idea what exactly a bloodbuzz is. But from the first time I heard it, I’ve always had a strong affinity for “Bloodbuzz Ohio”. It’s one of my favorite National tracks of all time. This is a song that I’ve never grown tired of. It never lost its luster after all this time. And when I see the band play live, it’s one of the songs I look forward to hearing the most on the setlist. But, why?

“Bloodbuzz Ohio” is actually not a song about Ohio. While that’s where The National hail from originally, the song is so much more than that. It’s actually a coming-of-age narrative. It’s about how when we return home after a long time away, it’s not just the place that has changed, we’ve changed so much as well. The song reminds us to look back for a larger perspective on our lives. And to see that, while the place we call home may change, there’s always a deep affinity and love for the places we came from.

“I WAS CARRIED TO OHIO IN A SWARM OF BEES. I NEVER MARRIED BUT OHIO DON'T REMEMBER ME.”

"GUEST ROOM" THE NATIONAL (2007)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Music is pretty much everything to me. All the best moments in my life have involved music in some way. It would be hard to imagine life without it. It would be hard to imagine life without The National. And it would be equally difficult to imagine The National without their breakthrough album, Boxer. The band had started to come into their own on the preceding LP, Alligator. But Boxer swayed with an incredible confidence. The back half of the album is no stranger to the spotlight. “Apartment Story” was one of the album’s singles, and “Start A War” appeared on the band’s setlists for a few years – even as the opener. But there’s a lesser heralded track that deserves mention here on Mental Jukebox: “Guest Room”.

Interesting thing about the “Guest Room”. It has all the elements that make The National a great band. The song kicks off with Bryan Devendorf’s trademark stuttering drum lines. Meanwhile, Aaron and Bryce do their thing on guitar creating atmospheric sounds with an intricate series of harmonics, chords and arpeggios. And Berninger is, well, Berninger. Waxing everyday poetic and singing so cool and so low on the outer edges of a bass range. My, how much I love this song and this band.

“They’re gonna send us to prison for jerks. for having vague ideas of the way to turn each other on again.”

"VANDERLYLE CRYBABY GEEKS" THE NATIONAL (2010)

You can get off to a fast start. You can sustain your opener with the main course, not filler. But can you end on a high note? Sometimes I wonder if recording a strong closer is the most difficult thing to pull off when it comes to album rock. When it comes to the cream of the crop in music, I can think of more strong openers than strong closers. Nonetheless, I still have my favorites which I’ll be featuring on Mental Jukebox all month.

The experience of listening to High Violet for the first time was incredibly gratifying. They did it. They somehow managed to get even better, following two exceptional releases: Alligator and Boxer. This is not the last great National album, but it’s probably the band at the height of its powers. Every song brimming with Berninger’s unique flair for a killer lyric. Every song managing to incorporate experimental motifs without ever overdoing it. Every song is fantastic, and right up there with the best of them is the closer “Vanderlyle Crybaby Geeks”.

I’ve seen The National a few times in concert – and one of the highlights of set lists has always been this track, often slotted in as the final track in the encore. It’s a reminder just how good this band is at making somber, reflective ballads that leave you practically breathless. Most bands have to end albums and concerts with a banger. But The National have found a way to pack enormous power with a slow tune. The piano, artfully understated. The guitar, insidiously potent. The strings, hanging by a thread. The vocals, full of sweet, sweet remorse.

“Leave your home. Change your name. Live alone. Eat your cake.”

"FAKE EMPIRE" THE NATIONAL (2007)

Great album openers get the listeners to keep on listening. They can do this in any number of ways. Some openers set the tone by easing us in. Others jump right in and blow our minds from the very beginning. A great album opener isn’t an easy thing to create. More than a great song, it’s all about the sequence. Track 1 has to be the perfect starter. This month, I’m highlighting my favorites. #AlbumOpeningSongs

I discovered Alligator and Boxer at the same time when The National finally crossed my radar. Hearing both albums I was struck by the way the band got into a zone between the two records. While Alligator is still a favorite of mine, Boxer was clearly an output written and recorded by a band that knew their unique identity. They embraced it, ran with it and carved out a sound that no one else can claim. “Fake Empire” was the lead track — but, in many ways, it was also the centerpiece.

“Fake Empire” existed on a grand scale, both musically and lyrically. Considered one of The National’s finest, its structure of revealing various musical layers like an onion sounded more like an orchestra than a rock band. Backed by a syncopated rhythm of piano chords, snare hits and a horn section flourish. the rhythmic delay tied ingeniously to Berninger’s monotone delivery: “We’re half awake in a fake empire.” Lyrically, the song featured some of the band’s most memorable lyrics. While “Fake Empire” is about the mundaneness of life, there is, with absolute certainty, nothing mundane about the song itself.

“Stay out super late tonight. Picking apples, making pies. Put a little something in our lemonade and take it with us.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #31DaySongLyricChallenge

Day 31

It is painfully hard for me to choose just one song from The National to highlight. One song that contains lyrics I revere. Because even among the songs from The National’s canon that I’m not as attached to musically, every single one seems to ring clearly with the everyday man poetry of Matt Berninger. “Mistaken For Strangers” features some of the finest string of words assembled together in the 21st century. “Showered and blue blazered.” “Fill yourself with quarters.” “Another un-innocent, elegant fall Into the un-magnificent lives of adults.” And this gem right here…

“Make up something to believe in your heart of hearts. So you have something to wear on your sleeve of sleeves. So you swear, you just saw a feathery woman carry a blindfolded man through the trees.”

"ABOUT TODAY" THE NATIONAL (2004)

One of the most powerful things about music is that it is the soundtrack of our lives. Fellow music fanatic Sharon Hepworth started a music challenge on Twitter for the month of July. Each day, fans around the world will select a song from their life and describe what it means to us. These are my songs. #SoundtrackToYourLife

Day 28

There are songs that wow us for a time, but then whither with age. And then there are songs that stay exceptional, ones that truly stand the test of time. That’s the case with “About Today”. One of The National’s earliest songs, it never even made it onto a full LP. But because of its tremendous staying power, it lives on today on many of their set lists. While Matt Berninger might crowd surf during “Mr. November”, he, the band and the audience take a far different approach to “About Today”. One characterized by a near stillness and quietness.

The song’s beauty is felt in every note. When I listen to it, I want to devour every note, I want to feel all of it. Bryan Devendorf’s tom hits are like heartbeats inside a lover’s chest. The acoustic guitar and string arrangements are like souls entwined yet strangely distant from one another. And Berninger’s lyrics are sung to his lover only and no one else. “About Today” is not just my favorite National song, it’s one of my favorite songs of all time. The song that I look forward to seeing most on the setlist. The song that hits me the most. The song I might not be able to live without.

“You just close your eyes and I just watch you slip away. How close am I to losing you?”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“Make up something to believe in your heart of hearts. So you have something to wear on your sleeve of sleeves. So you swear, you just saw a feathery woman carry a blindfolded man through the trees.”

"ABOUT TODAY" THE NATIONAL (2004)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

There are songs that wow us for a time, but then whither with age. And then there are songs that stay exceptional, ones that truly stand the test of time. That’s the case with “About Today”. One of The National’s earliest songs, it never even made it onto a full LP. But because of its tremendous staying power, it lives on today on many of their set lists. While Matt Berninger might crowd surf during “Mr. November”, he, the band and the audience take a far different approach to “About Today”. One characterized by a near stillness and quietness.

The song’s beauty is felt in every note. When I listen to it, I want to devour every note, I want to feel all of it. Bryan Devendorf’s tom hits are like heartbeats inside a lover’s chest. The acoustic guitar and string arrangements are like souls entwined yet strangely distant from one another. And Berninger’s lyrics are sung to his lover only and no one else. “About Today” is not just my favorite National song, it’s one of my favorite songs of all time.

“You just close your eyes and I just watch you slip away. How close am I to losing you?”

"BLOODBUZZ OHIO" THE NATIONAL (2010)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

I have no direct ties to the state of Ohio. And I still have no idea what exactly a bloodbuzz is. But from the first time I heard it, I’ve always had a strong affinity for “Bloodbuzz Ohio”. It’s one of my favorite National tracks of all time. This is a song that I’ve never grown tired of. It never lost its luster after all this time. And when I see the band play live, it’s one of the songs I look forward to hearing the most on the setlist. But, why?

“Bloodbuzz Ohio” is actually not a song about Ohio. While that’s where The National hail from originally, the song is so much more than that. It’s actually a coming-of-age narrative. It’s about how when we return home after a long time away, it’s not just the place that has changed, we’ve changed so much as well. The song reminds us to look back for a larger perspective on our lives. And to see that, while the place we call home may change, there’s always a deep affinity and love for the places we came from.

“I was carried to Ohio in a swarm of bees. I never married but Ohio don't remember me.”

"FAKE EMPIRE" THE NATIONAL (2007)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

I discovered Alligator and Boxer at the same time when The National finally crossed my radar. Hearing both albums I was struck by the way the band got into a zone between the two records. While Alligator is still a favorite of mine, Boxer was clearly an output written and recorded by a band that knew their unique identity. They embraced it, ran with it and carved out a sound that no one else can claim. “Fake Empire” was the lead track — but, in many ways, it was also the centerpiece.

“Fake Empire” existed on a grand scale, both musically and lyrically. Considered one of The National’s finest, its structure of revealing various musical layers like an onion sounded more like an orchestra than a rock band. Backed by a syncopated rhythm of piano chords, snare hits and a horn section flourish. the rhythmic delay tied ingeniously to Berninger’s monotone delivery: “We’re half awake in a fake empire.” Lyrically, the song featured some of the band’s most memorable lyrics. While “Fake Empire” is about the mundaneness of life, there is, with absolute certainty, nothing mundane about the song itself.

“Stay out super late tonight. Picking apples, making pies. Put a little something in our lemonade and take it with us.”

"LIGHT YEARS" THE NATIONAL (2019)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

The last show I saw before the pandemic was The National at the Beacon. It wasn’t a typical show. This was a band that was already a few years into playing at arenas. But in an intimate theater setting, they introduced their new album I Am Easy to Find, paired with a short film by Mike Mills (not of REM fame). It felt more like a visit to an art museum than a rock concert. It wasn’t exactly my favorite National show because the band’s energy just wasn’t at the levels I was used to. But in the introspective and artistic rhythms of the night, the band showed a new flair for a quieter, softer aesthetic. And the highlight was “Light Years”.

This is not a song that The National could’ve possibly written and performed in their early years. There’s a maturity and a wisdom here that had to marinate with time. It’s a somber realization about how far two people can be pulled apart until there’s barely anything left. It’s a story that’s years, maybe decades, in the making. The piano part has no irony. No musical unexpectedness or other. Just a beautiful fragility that give ways to a sad, beautiful reality.

“I was always ten feet behind you from the start.”

"AFRAID OF EVERYONE" THE NATIONAL (2010)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

Some songs have greater meaning during specific seasons in our lives. I believe my affinity for “Afraid of Everyone” wouldn’t have been what it is if it weren’t for the fact that High Violet was released the month my daughter was born. I have distinct memories singing along to “Anyone’s Ghost” and “Bloodbuzz Ohio” and her giggling along. But I also remember how “Afraid of Everyone” spoke to me, wrecked me and woke me up to the reality of the intense weight on our shoulders of raising up a child.

“Afraid of Everyone” was a sobering wake-up call for me. That line “I don’t have the drugs to sort it out” was especially poignant. On the flip side, the song was a clear reminder that my wife and I were not alone as newbie parents in feeling the fears, anxieties and excitement that we felt. A complex and beautiful mess of emotions. There was incredible comfort in that. The irony of it all was that by listening intently to the song, I felt that I was intently heard.

“With my kid on my shoulders I try not to hurt anybody I like. But I don't have the drugs to sort.”

"SQUALOR VICTORIA" THE NATIONAL (2007)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

I’ve always been a rhythm guy. I love a well crafted bass line. The simple grooves. And the complex stuff, too. I appreciate an unexpected drum part. Intros. Solos. Fills. All of it. And, generally, when I listen to music, the rhythm section is usually flaunting itself in the foreground. I often notice their intricacies even before I know the lyrics or guitar parts played over the verses. So when I first heard “Squalor Victoria”, I was simply blown away.

Since their solo album, Bryan Devendorf’s drums have always been a standout element of The National. What I love about his percussion style is his knack for the simple. He makes it sound so good. Every drummer has made a name for him or herself in their own way. Neil Peart owned technique and complexity. Bonzo owned sheer power. What Devendorf has done is make simplicity a desirable thing. On “Squalor Victoria”, his drums are the hero, but he’s using a beat that sounds like the stuff of teenaged basement jams. It’s infectious and mesmerizing, especially in a live setting.

“Underline everything. I'm a professional in my beloved white shirt.”

"LEMONWORLD" THE NATIONAL (2010)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

On the tour to promote High Violet, I caught The National at New York City’s Terminal 5, a relatively intimate setting that they would outgrow almost overnight. The band was real as always. They didn’t just play their songs, they shared the stories behind them. Aaron or Bryce (I still can’t tell them apart) mentioned one song, in particular, that gave them fits. His guilty admission was that the time signature was overly complex. It was hard for the band to stay in sync, to find their groove. That song was “Lemonworld”, and that night they played it nearly flawlessly.

One of the most distinct aspects of The National has always been the lyrics. No one else in rock & roll strings words together like Matt Berninger. It’s not far fetched to say that the band’s songs can be easily identified. just by reading the words without any music. This is the case with “Lemonworld”. Every syllable sung or hummed embodies the band’s storytelling approach on a bed of industrial guitar strums, tumbling tom rolls and high hat accents.

“Lay me on the table, put flowers in my mouth, and we can say that we invented a summer lovin' torture party.”

"ADA" THE NATIONAL (2007)

For the first half of September, I’ll be selecting my Top 15 favorite songs from The National. A band that has rarely let me down — both in the recording studio and in concert. #FaveArtistTop15

Five of my Top 15 favorite tracks from The National are from the Boxer album. It’s a testament to how good this album really is. What made Boxer particularly unique is that the songs go together exceptionally well as a unit, but they’re also more than strong enough to shine on their own. Some of the band’s best songs hail from Boxer, but one of my favorites has always been one of the least heralded tracks: “Ada”.

“Ada” flies under the radar because it starts off quiet and unassuming on an album with other songs that tend to grab your attention in their first few seconds. But the thing about it is it builds gradually with this intense, yet quiet kind of tenacity. The piano parts were recorded by guest collaborator and fellow Brooklynite Sufjan Stevens. It is one of the finest piano-driven tracks from The National — from the opening trills to the closing chords. But there’s also an orchestral element to “Ada” that adds a dark richness to the song with intermittent french horns and strings.

“Stand inside an empty tuxedo with grapes in my mouth, waiting for Ada.”