Back catalogue: All genres

Review: Rome is a 21-track live album that captures The National's performance in the Italian capital on June 3, 2024, with a tracklisting that spans the band's 20-plus-year career. Rome highlights fresh renditions of recent tracks such as 'Eucalyptus' and 'Tropic Morning News', revealing The National's distinct ability to reshape their music in concert, giving new life to old favorites while showcasing hidden gems like 'Runaway' and 'Murder Me Rachael'. The National are renowned for their emotional intensity and layered songwriting and frontman Matt Berninger's deep, brooding vocals, combined with the intricate musicianship of brothers Aaron and Bryce Dessner and the rhythmic backbone provided by Scott and Bryan Devendorf, have earned the band critical acclaim and a devoted fan base. Not to be excluded, the live album has beloved songs like 'Bloodbuzz Ohio', 'I Need My Girl' and Fake Empire' as well. Their live performances are celebrated for their raw energy, with the band's songs taking on heightened emotional and sonic dimensions in a concert setting. Rome preserves this intensity, capturing the fiery atmosphere of the performance and offering fans a definitive live document of the band's evolution over two decades. The album immortalises The National's ability to craft both intimate and expansive moments on stage.

Review: American indie rock band the National rach their ninth studio album with First Two Pages of Frankenstein. It makes the start of a new chapter for the hugely popular outfit as they anchor their sounds in evocative melodies and lyrical narratives that are complex and enthralling throughout. The band produced the record at Long Pond Studios in New York with some high-level guests including Taylor Swift, Phoebe Bridgers and Sufjan Stevens. It comes after busy touring years, two back-to-back albums and a period of creative block but suggests that was very much gotten over as it brings plenty of invention and originality.

Review: Seven albums in, The National have solidified their songwriting with confident nuance, and 'Sleep Well Beast' is another milestone on this consistent band's upward curve. Standout ballad 'Carin at the Liquor Store' waltzes and wanders through melancholic nostalgia and glimmers of hope, exemplifying the sound and storytelling that The National are so renowned and respected for. Small cracks in the concrete gloom appear with the more energetic and optimistic tracks, allowing just enough light in for this masterfully executed album to encourage repeat listens, which will in turn, and as always, provide ample rewards.

Review: Laugh Track is The National's most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Revelling in the license to radically upend its creative process, The National honed most of this material in live performances on tour this year and captured those invigorated versions in impromptu sessions at producer Tucker Martine's Portland studio, Flora Recording & Playback. The nearly eight-minute album closer 'Smoke Detector' was recorded in June during a Vancouver soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.

Review: The First Two Pages of Frankenstein is an impressive ninth studio album from The National. It's an 11 song collection that marks something of a new chapter in the band's ever evolving discography as it is steeped in evocative melodies and dense, absorbing lyrical narratives. The American indie legends sound as creatively free as ever on this record and that is sure to both keep ling time fans onside as well as win new admirers. The album was produced in update New York and features some top level guests in Taylor Swift, Phoebe Bridgers and Sufjan Stevens.