In the Clearing Stands a Boxer
Brooklyn’s The National delivers a knock out

Layering texture upon texture was what made The National’s breakthrough record, "Alligator" (2005), so affecting and poignant—the band rejected indie-rock convention and constructed an intricately detailed work of art. The recent follow-up, "Boxer," is even better.

What begins with the simple, elegant piano progression of the illustrious opener "Fake Empire" flows into a whirlwind album of sweeping guitars, expertly shaped drums and devastating vocals and lyrics. It’s clear the band took its time with this record—the recording process lasted more than a year—manufacturing a pitch-perfect collection of peaks and valleys. "Boxer" is, above all, an earnest and endearing record, possibly the best of the year, one that should be absorbed slowly, lovingly, as it seems so gentle it feels it could break at moment.

"I think the only thing we felt was that we knew people would be listening more closely, that this record would be heard," multi-instrumentalist Aaron Dessner says of the band’s psyche during the writing and recording process. "I don’t think we felt pressure…[‘Alligator’] did become quite successful towards the end—it wasn’t a hit record or anything—but we didn’t feel like we were in the shadow of it. We have a hard time finishing songs ourselves that we feel good about—there’s pressure internally, to make something we can believe in, an album we are happy with."

Dessner says the process of building "Boxer" was different than how the band’s worked in the past, as when it entered the studio, there weren’t any new songs yet. "We didn’t have any songs, so the recording process was the writing process. We made a lot of wrong turns—we spent six months working on it and realized we had half a record—so we threw the other half away, and spent another six months [working on it]."

If anything, the band tried deliberately to break old habits to avoid repeating itself. "I think that [‘Boxer’] is more melodic," Dessner says. "There’s much more in the music—a lot of specific melodies. We paid more attention to that this time. Longer phrases and longer chord cycles…we were more confident about trying new things and getting away from simple formulas. It wasn’t like, ‘Let’s write a complex song.’ It was more like, ‘Let’s try this…’" (Tom Lynch)

The National plays September 22 at the Vic Theatre

MUSIC EVENTS

World Music Festival
The annual World Music Festival hits various Chicago venues—including the Museum of Contemporary Art, Empty Bottle and the Chicago Cultural Center—and features more than seventy performances, including an appearance by the Dhoad Gypsies of Rajasthan on opening night.
September 14-20 at various venues

Ricardo Muti and the Chicago Symphony Orchestra
For the first time in more than thirty years, legendary conductor Muti—joined by soprano Barbara Frittoli—leads the Chicago Symphony Orchestra during its Opening Gala with performances of Verdi, Ravel and more.
September 15 at the Symphony Center

Rise Against
The local hardcore punks—still pimping 2006’s thrashing "The Sufferer and the Witness"—return home for a bit of rioting.
September 18 at Congress Theatre

Common
Chicago’s older, wiser hip-hop professor—who’s joined by Joss Stone—visits in support of his new, smooth "Finding Forever."
September 20 at Charter One Pavilion

Louden Wainwright III
The eccentric folk songwriter and multi-instrumentalist—and, of course, father to Rufus—brings his passionate Americana.
September 22 at Old Town School of Folk Music

Peter Bjorn and John
Stockholm’s newest sensation stops in to hang with the "Young Folks."
September 25 at the Riviera Theatre

Beastie Boys
The great, influential New Yorkers do two nights in our city—an all instrumental affair at the Riv and another show the next evening at Charter One Pavilion.
September 26-27 at the Riviera Theatre and Charter One Pavilion

The White Stripes
The duo of Whites—one of the best live bands you’ll ever see—tour in support of the seemingly effortless "Icky Thump."
October 6-7 at Aragon Ballroom


Interpol
The near-perfect New York indie rock, post-punk revivalists returned this year with their third record, the penetrating and thoughtful "Our Love to Admire."
October 11 at Aragon Ballroom

Justice
The French electro-house duo bring along their massive light-up cross for a night of exuberant ass-shaking—with only one record, these two are causing quite a stir.
October 17 at Metro

The New Pornographers
Carl Newman and his intricate indie-pop crew—who were fantastic at this year’s Pitchfork fest—deliver the goods on "Challengers," out on Matador.
October 18-19 at Metro

UNKLE
The seminal London electro outfit travels the globe to tell its "War Stories."
October 20 at Metro

Lupe Fiasco
Fresh off last year’s Grammy-nominated "Food & Liquor" success, the Chicago hip-hop artist looks to release his follow-up, "The Cool," at the end of November.
October 31 at House of Blues

Stars
Montreal’s lovelorn popsters—led by the quixotic Torquil Campbell and the angelic Amy Millan—tour in support of "In Our Bedroom After the War," the band’s follow-up to its 2004 masterpiece, "Set Yourself on Fire."
November 2 at the Vic Theater











(2007-09-04)

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