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THE NATIONAL

I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

I Am Easy to Find is a 24-minute film by Mills starring Alicia Vikander, and a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.

As the album’s opening track, ‘You Had Your Soul With You,’ unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

“Yes, there are a lot of women singing on this, but it wasn't because, ‘Oh, let's have more women's voices,’ says Berninger. “It was more, ‘Let's have more of a fabric of people's identities.’ It would have been better to have had other male singers, but my ego wouldn't let that happen.”

FORMAT INFORMATION

2xColoured LP Info: Indies only 140gram clear vinyl – limited edition, one pressing only.

3xDeluxe LP Info: 140g set on opaque red / yellow / grey colours.
5th side contains 22 minutes of music from the I Am Easy To Find Original Film Score – EXCLUSIVE to this format.
Etching on the 6th side.
Tri-fold LP jacket.
3x printed innersleeves.
24 page booklet.
24” x 24” poster folder.
Housed in printed plastic sleeve.

2xLP Info: Black vinyl.

The National

You Had Your Soul With You / Hairpin Turns

    Ultra limited primer for the new album...

    BASKET!
    BASKET!!
    BASKET!!!

    Beth Gibbons And The Polish National Radio Symphony Orchestra

    Henryk Górecki: Symphony No. 3 (Symphony Of Sorrowful Songs)

    Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. 

    The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

    Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release.

    The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

    STAFF COMMENTS

    Barry says: There's no denying that Beth Gibbons is one of the most cherished and highly recognisable vocal talents of the past several decades, but hearing her in this context is nothing less than astounding. The latent sadness inherent in Gorecki's 3rd symphony is only enhanced by Gibbons' stunning vocal range and perfect delivery. Astounding.

    FORMAT INFORMATION

    Indies Exclusive LP Info: Deluxe tip-on gatefold sleeve with mounted 16pp booklet insert and bonus DVD featuring concert film.

    LP Info: Heavyweight black vinyl with 12x12” booklet insert.

    Deluxe CD Info: Deluxe tip-on case-bound CD pack with 28 page booklet and bonus DVD featuring concert film.

    Bert Innis National Recording Orchestra & Mighty Sparrow

    Slave / The Slave

    “Slave” is a dark instrumental of Sparrow’s “The Slave” from 1963 by Bert Inniss National Recording Orchestra with backing vocals by March of Dimes Quartet. It was the first release on the National label, which would become Sparrow’s home from 1963 to 1967; Spicy, rhythmic, mournful, classic, full of emotions.

    “The Slave” was taken from the same title album released in 1963. This album marks a new era in the matchless career of Sparrow. He could not have launched his National Recording Company on a higher note. “The Slave” is a gem of composition and one of the most memorable works created by a calypsonian in this generation. Maybe it will remain historically significant in the traditional musical development of Trinidad & Tobago for generations. The song is a scathing telling of the fate of slaves in Britain's West Indian colonies. If you've ever wondered where calypso came from this song will tell you. You can actually feel the emotions of the Slaves being expressed in this great Calypso. The genius Mighty Sparrow has taken us back to the plantations so that we can get a front seat view of the hardships of slavery. This narration in song is a must for all students of history in Trinidad & Tobago.

    Many of the world's great craftsmen have, at one time or another, created works which were not entirely free from flaws. An astonishing exception in this respect is the greatest calypsonian Mighty Sparrow. From the day he skyrocketed to fame with his composition “Jean And Dinah” in 1956, Slinger Francisco has not made a weak calypso. All of his long-play records have been best-sellers throughout the Caribbean, in the United Kingdom, the United States and even in Europe.

    The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

    While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

    All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound.

    As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but as a fan I’m certainly not disappointed.

    FORMAT INFORMATION

    2xColoured LP Info: INDIE EXCLUSIVE limited run edition pressed on BLUE vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

    2xLP Info: Standard edition pressed on white vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

    * First ever anthology
    * Remastered from original sources
    * 2xLP housed in a deluxe gatefold tip-on jacket with 20-pg book, and download card full full anthology
    * Vinyl cut by John Golden and pressed at RTI
    * CD housed in a deluxe gatefold tip-on jacket with 48-pg book
    * Scholarly liner notes by Punk In Africa director Keith Jones
    * Unseen photos, flyers, and band ephemera

    The South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic is set to release National Wake’s full body of work as Walk In Africa 1979-81.

    Featured heavily in the Punk In Africa documentary, National Wake played punk, reggae and tropical funk, equally at home in the city’s rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds –while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa.

    National Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading.

    Sadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, but his attention eventually turned back to the band as their legacy grew in the digital era, with the emergence of specialized music websites and Punk In Africa leading to their rediscovery. Czech State Radio memorably described the band as “perhaps the most dissident music scene of the 20th century: a multi-racial punk band in a fascist police state.”

    In 2011, Kadey re-released the band’s self-titled album, but spoke about having more than 20 tracks that had never seen the light of day –until now. “All of these recordings put together they speak of the whole evolution of the band,” he has said. “From a sort of naive, almost belief that we could miraculously change everything to realizing what a struggle it was, and what the country was going through and what it would go through.”

    This is the sixth studio album for the Brooklyn band, and follows 2010’s High Violet, which was No 2 in our Albums of The Year, that year.

    In an interview with UK’s Uncut Magazine, front man Matt Berninger described the songs as more “immediate and visceral” than their previous work. Trouble Will Find Me possesses a directness, a coherency and an approachability that suggests The National are at their most confident.

    After a 22-month tour following the release of High Violet the band returned home. Regardless of plans to wait to record new music for another year or two, guitarist Aaron Dessner began working on sketches of new songs that the other members were too inspired by to not fully realise. Matt confesses, “For the past ten years we’d been chasing something, wanting to prove something. And this chase was about trying to disprove our own insecurities. After touring High Violet, I think we felt like we’d finally gotten there. Now we could relax—not in terms of our own expectations but we didn’t have to prove our identity any longer.” The results are simultaneously breakthrough and oddly familiar, the culmination of an artistic journey that has led The National both to a new crest and, somehow, back to their beginnings—when, says Aaron, “our ideas would immediately click with each other. It’s free-wheeling again. The songs on one level are our most complex, and on another they’re our most simple and human. It just feels like we’ve embraced the chemistry we have.” The album was recorded at Clubhouse in Rhinebeck, NY. Trouble Will Find Me was self-produced and mixed by Craig Silvey with additional mixing from Peter Katis and Marcus Paquin.

    STAFF COMMENTS

    Laura says: With every album The National have pushed on and made a more ambitious album, constantly upping the ante with bigger arrangements and a bigger sound. So how on earth were the going to follow High Violet?
    Well, it seems they’ve finally come to terms with who and where they are as a band and made an album that reflects that. The Dressner brothers intricate arrangements are still there, as are the distinctive scatter-shot drum patterns (described perfectly by film director DA Pennebaker as “like rain falling through the leaves of a tree”) and of course Matt Berninger’s rich baritone rolls effortlessly over it all, but “Trouble Will Find Me” is a more relaxed, streamlined collection, and this stripping back gives the songs room to breathe and emphasises just how good they are at what they do. There may be less angst here than in the past, but the romanticism and melancholy are still there and for me, once again they've come up with one of the best albums of the year.

    FORMAT INFORMATION

    2xLP Info: Double gatefold heavy vinyl with printed inner sleeve.

    2xLP includes MP3 Download Code.

    The National

    The Virginia EP

      To coincide with The National’s curation of All Tomorrow’s Parties at Camber Sands this December, ‘The Virginia EP’ is being made available on vinyl for the very first time ever.

      Pressed on coloured vinyl, ‘The Virginia EP’ is a collection of B-sides and rarities from the band’s ‘Boxer’ period, originally available on CD when it was included as an accompaniment to the Vincent Moon filmed ‘A Skin, A Night’ DVD release of 2008.

      The National

      Sad Songs For Dirty Lovers

      The National are five displaced Ohioans living in New York. They play smart, bracing, and beautiful rock music. Their self-titled debut was hailed throughout the US and Europe by publications ranging from the Village Voice and No Depression to Paris’s Liberation.

      "Sad Songs For Dirty Lovers", their follow-up sophomore release, is a great leap forward, an omnibus of rock songwriting that is by turns upbeat and downcast, electric and acoustic, raging and atmospheric. Produced by Nick Lloyd, Peter Katis (Interpol), and Paul Heck (No Alternative; Red, Hot, and Riot!), "Sad Songs For Dirty Lovers" is a bold statement, a song cycle about men and women and all the ways things go wrong and right.



      The album opens with the slow drums and mournful vocals of “Terrible Love” but from the start there’s a simmering intensity that builds and eventually explodes into crashing cymbals, pummelling drums, distorted guitars and layered vocals.
      A dramatic entrance to The National’s fifth album. But it’s not all this heavy, as with their previous releases it’s an album of mood swings. Where “Terrible Love” was explosive, second track “Sorrow” is mournful and melodic.
      And while the album changes mood and tempo, at times warm and intimate at others dramatic, propelled by off beat drum rhythms, there’s always a palpable intensity. I read recently that they find it hard to finish songs, with one or other band member frequently rejecting material. Whether the atmosphere created here is the cause or result of this I don’t know, but either way it works perfectly. Despite Matt’s melancholy, there’s something really uplifting about this collection of beautifully crafted mini epics.


      STAFF COMMENTS

      Martin says: A bona fide classic, and possibly the summit of The National's already majestic canon. Moody, introspective and deeply involving, "High Violet" manages to be both clever and inventive and at the same time focused in it's somewhat bleak expression. A work of troubled genius whose (very) high points, "Afraid of Everyone", "Bloodbuzz Ohio" and the sublime "Conversation 16" would grace pretty much any album, ever. It is really that good.

      The National

      The National

        The National are five displaced Ohioans living in New York - two sets of brothers and one best friend. They play smart, naked, and bracing rock music. This was their debut album from 2001.

        No Depression said, 'The National has created nearly a dozen picture-perfect Americana bar-soaked gems with its debut album'. Creative Loafing described it as a 'merciless hybrid of plaintive American folk with the mordant gallows humour of Nick Cave and Jarvis Cocker'. 'Full of simple songs that convey complex emotions', wrote Billboard, 'this dazzling debut should be the portent of good things to come'.

        The National's 2005 album "Alligator" saw them fulfil the promise shown on their previous two albums, and set the bar impossibly high for their follow up.

        However, with "Boxer" they've created something quite stunning, in fact the opening three tracks, "Fake Empire", "Mistaken For Strangers" and "Brainy" are possibly their best songs ever. A taut rhythm section is present throughout, and complements the languid vocals and lush string arrangements perfectly. Although the strings and Matt Berninger's distinctive drawl create a solemn mood, there are plenty of upbeat moments here too, creating a rich anthemic album with just the right amount of melancholy.

        FORMAT INFORMATION

        LP Info: One of a series of vinyl re-presses from Beggars Banquet. Yellow vinyl.

        These five Cincinnati friends recorded two albums and a mini album for Brassland before signing to Beggars Banquet. Their last effort, "Sad Songs For Dirty Lovers", was touted as one of the year's best by Rolling Stone and other magazines.

        The National contains two pairs of brothers - Aaron Dessner (guitars, bass) and Bryce Dessner (guitar), Scott Devendorf (guitar, bass), Bryan Devendorf (drums) and singer Matt Berninger. Matt's potent baritone intones about matters fraught and funny and sad; about record collections, missing persons and medium-sized American hearts. The songs are intense, and emotive but generally quite restrained, but on one or two tracks, this intensity spills out into a superbly abrasive blast of emotion, before ebbing back into mellowness. Wonderful!

        STAFF COMMENTS

        Laura says: An absolutely awesome album - one of my albums of the year in 2005 when it was originally released. Although it's perhaps a little less 'polished' than "High Violet" it still has that same compelling, claustrophic intensity too it.

        FORMAT INFORMATION

        LP Info: One of a series of vinyl re-presses from Beggars Banquet. Fluorescent yellow/green vinyl.

        LP includes MP3 Download Code.

        The National

        Cherry Tree EP

        The National’s sophomore album, "Sad Songs For Dirty Lovers", found the band emerging onto a larger stage. Uncut called it 'a genuine treasure' and named it an album of the year; it was hailed by Rolling Stone and the indie media; Magnet, La Liberation (Paris), and the Chicago Tribune were only a few of the publications to tap it for their year-end lists.

        In France, the band had become such a sensation that renowned DJ Bernard Lenoir invited them to perform on his Black Sessions - following US buzz bands like The Rapture and Interpol. A track from that session, "Murder Me Rachel" occupies the warm-blooded heart of "Cherry Tree", a 7-song collection that delves the depths and brought their tension-wire rock to new heights. Clocking in at just under thirty minutes "Cherry Tree" was an EP, a mini-LP, or a bridge to the future. It features five new songs and two bonus tracks, including one of those aforementioned live performance from France inter radio and a trans-oceanic duet between the National's singer Matt Berninger and Clogs' Padma Newsome.




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