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High Violet

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Reseña de álbum

The National have worn a lot of hats since their 2001 debut, but they’ve never been able to shake the rural, book-smart, quiet violence of the Midwest. The Brooklyn-groomed, Ohio-bred indie rock quintet’s fifth full-length album navigates that lonely dirt road where swagger meets desperation like a seasoned tour guide, and while it may take a few songs to get going, there are treasures to be found for patient passengers. The National's profile rose considerably after 2007’s critically acclaimed The Boxer, and they have used that capital to craft a flawed gem of a record that highlights their strengths and weaknesses with copious amounts of red ink. High Violet oozes atmosphere, but moves at a snail’s pace. The Cousteau-esque “Terrible Love” hardly bursts out of the gate, and the subsequent “Sorrow” and “Anyone’s Ghost” (despite Bryan Devendorf’s locomotive drumming) lack the hooks to reel anybody in on first listen. The album begins to take shape on “Afraid of Everyone,” a slow-build midtempo rocker that expertly utilizes the Clogs’ (guitarist Bryce Dessner's other chamber pop band) prickly orchestrations, but it’s the punishing “Bloodbuzz Ohio” that serves as High Violet's centerpiece. Built on a foundation that fuses together TV on the Radio's “Halfway Home” and Arcade Fire's “No Cars Go,” its refrain of “I still owe money to the money, to the money I owe” seems both relevant and nostalgic, resulting in a highway anthem that feels like the anti-“Born to Run.” Other standout cuts like “Conversation 16,” “England," and the darkly funny/oddly beautiful closer, “Vanderlyle Crybaby Geeks,” trumpet Violet’s second-half supremacy, but even they tremble beneath the "Bloodbuzz" intoxication. Muscular, miserable, mighty, and meandering, High Violet aims for the seats, but only hits about half of them.

Reseñas de clientes

Uno de los mejores discos de 2010

Precioso y asombroso album desde el principio hasta el final. Evocador y emotivo, la irresistible voz acompaña perfectamente a un grupo de magníficos músicos. Este, su quinto album, es el mejor que han hecho, con maravillosos temas como "Anyone's Ghost", "Afraid of Everyone", "Bloodbuzz Ohio" o "England". Para mi, este es uno de los discos de 2010 junto con otras obras maestras: "Teen Dream" de Beach House, "Halcyon Digest" de Deerhunter y el último de Crystal Castles. Precioso!!!

Amazing!

Great album, I especially recommend "Anyone's Ghost". A liberating, fresh style!

Extraordinario album

LLeno de canciones memorables, sentidas y profundas. Con una gran riqueza de matices y una excelente producción.
Absolutamente recomendable.

Biografía

Fecha de formación: Brooklyn, NY, 1999

Género: Alternativa

Años de actividad: '00s, '10s

Although formed during the post-punk revival of the late '90s, the National took inspiration from a wider set of influences, including country-rock, Americana, indie rock, and Brit-pop. The lineup began taking shape in Ohio and officially cemented itself in New York, with baritone vocalist Matt Berninger joining forces with two sets of brothers — Scott (bass) and Bryan Devendorf (drums), and Aaron (guitar) and Bryce Dessner (guitar). After establishing themselves as a live act, the bandmates...
Biografía completa