The National have now performed a total of six new songs off “Trouble Will Find Me”

Via COS

The band debuted three songs in Berlin on Thursday: “Heavenfaced”, “Fireproof”, and “Graceless”.  Watch them below:

Heavenfaced:

 

Fireproof:

 

Graceless:

Here are the older songs, which will also appear on the band’s sixth album:

I Should Live in Salt:

 

Humiliation:

 

I Need My Girl:

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The National contribute to a children’s story app, “Dragon Brush”

Matt Berninger and Aaron and Bryce Dessner have contributed to a new children’s iPad story app called Dragon Brush.

The story, which is based on a traditional Chinese folktale, was narrated by Matt. The music was done by Aaron & Bryce. The illustrations were done by John Solimine of Spike Press, who has done the artwork for many of The National’s posters.

Matt Berninger said in a press release: “The story has all my favorite things: waterfalls, magical dragons, and the sound of my own voice.”

preview it below

 

 

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The Grateful Dead’s Bob Weir will form a supergroup with The National’s Devendorf brothers

Bob Weir of The Grateful Dead and Bryan and Scott Devendorf of The National will share the stage under the name “The Bridge Session” at California’s TRI Studios on March 24.

The musicians aim to mix “different musical genres, political discussion and a showcase of modern technology, the event aims to ‘bridge the gaps’ between people of various tastes and viewpoints.”

They will perform original songs as well as cover songs. There will be roundtable political discussions between the sets.

You can win tickets HERE

The Devendorfs cite The Grateful Dead as a major influence on their music, and Bryan considers himself a Deadhead. The National will also curate a Dead tribute album.

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Aaron Dessner talks about The Long Count to The Quietus

I was watching a video interview with him about The Long Count which was interesting – he said that for him, it also extended to ideas of games and combat, conflict and play in every day life. Was that of significance to you too?

AD: Yeah, definitely. I remember… early on, it was very much about games and play and tests, and we tried to affect that in the music. A lot of the music involves these chases, or mirroring – my brother and I can play guitar in really unique ways together because of how we grew up. Literally I can look at his hand and play the exact same thing or the exact opposite thing, or a key off. What usually happens is that I’m playing something and he plays a mirror or echo of it, and a lot of music is like that, and it’s extended into the ensemble also, so it’s like twins also. That extends into the film as well – you see the film, the two diamond shape films, and then they reflect down off of this mirror floor, so everything is doubled or quadrupled, so this has this interesting effect where it’s all very playful.

You must both be acutely aware of the ways in which you and Bryce work together and apart.

AD: I think we have this instinctive feeling that if we hit a wall at some point, that the other will be able to break through it. We have different tendencies: he’s much more academic about music than I am, and I’m more visceral or spontaneous. It’s probably easier for me to generate lots of new ideas, a constant stream, and in a way it’s easier for him to finish those ideas, and maybe elevate them beyond a simple idea. But then he’ll do some work and I’ll take it further. There are very few times where either of us is working on something where the either isn’t in some way part of it. Bryce is writing more orchestral work now, and some of that I’m not involved in it, some of that I am, and in some ways that’s a different exercise when you’re writing in a more traditional way, as opposed to collaborating. We’re always finishing each other’s ideas, and it works really well in The National, and in some ways it works even better in these more expansive, experimental ways. There aren’t these restraints. With The Long Count, there are a lot more musicians to bounce things out of and draw on, different voices and things. It’s liberating.

read the rest HERE

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Aaron Dessner discusses The Long Count with Barbican Podcast

Aaron gives a nice overview over his collaborative musical project about mythological “hero twin brothers”; the origins; his relationship with Bryce (and how they sync up on stage) and much more. He calls it “our personal mythology” and says that each time they perform The Long Count, they interpret it differently.

Listen to the podcast on Soundcloud.

more information can be found at Barbican’s website

watch the trailer below:

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Bryce Dessner shows up in an ad for musical accessories

Bryce shows up in this ad for D’Addario & Company, “an American manufacturer of high quality musical accessories including strings for all stringed instruments, cables, drum heads, drum sticks, reeds & many more.”
Bryce himself uses D’Addario products, and the video has “So Far Around The Bend” in the background (the track which the National contributed to 2009’s charity LP Dark Was The Night)

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Matt Berninger discusses his drinking, parties

He says:

“We’ve adjusted on a level that we don’t party as much as we used to frankly; not that we were ever Motley Crue or anything, but I personally have learned to after shows just go to bed; I’ll call my wife, watch a movie and pretty much unplug,” Berninger said. “The other guys do it a lot more but I’ll do an after party maybe once a month or once out of 20 nights on the road.  If I don’t, I start to deteriorate much faster.”

 “I drink a lot onstage and I’m not living what anyone would call a healthy lifestyle, but I know my limits. To be able to keep doing it and not ruin yourself; we’ve learned how to put the brakes on.”

All the wine is all for Matt…

read the rest of the article HERE

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listen: Barlande (produced by Bryce Dessner)

As we well know, the boys of The National always have their hands full with various musical projects. Much of the time, these projects deal with classically-inclined orchestra-type albums

via NPR:

Barlande tells the musical story of a father and son: Pedro Soler and Gaspar Claus, who represent two generations separated by four decades. It combines an ancient way of playing flamenco guitar with a non-traditional approach to cello. It’s music that’s at once quiet and intense. It’s an album of acoustic improvisations, released by a label known primarily for electronica — and produced by a man behind both a popular indie-rock band and an acclaimed classical chamber ensemble. It’s remarkable.

The album was produced by Bryce and recorded in The National’s studio. listen to it on NPR’s website

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Paste Magazine names Devendorfs #8 in “The 10 Best (New) Rhythm Sections”

They write:

8. Bryan Devendorf, drums; Scott Devendorf, bass (The National)

The National’s rhythm section has the ultimate leg-up when it comes to locking perfectly—It’s made up of two brothers. While the two aren’t the most explosive or hard-hitting duo, the Devendorf brothers are master students in the school of dynamics. Every note and beat played is as carefully anticipated, executed and sustained as the one before it. The Devendorf brothers can sound huge and uplifting (“Bloodbuzz Ohio,” “Abel”), reserved (“Vanderlyle Crybaby Geeks”), and melodramatic (“Fake Empire”) all within a 15-minute span of a set. Without the two, The National’s layered melodies and baritone moans would lose their grandeur, and elegance — and that would be a terrible thing.
Defining moments: “Bloodbuzz Ohio,” “Anyone’s Ghost,” “Abel,” “Squalor Victoria” 

 

 

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