The National, an Ohio native band, released their 10th studio album titled, “Laugh Track” on Monday, September 18. With 12 full-length songs and features such as Phoebe Bridgers and Bon Iver, The National has done it once again. 

The band said that “Laugh Track” is a second part of “The First Two Pages of Frankenstein,” the title of their last album which comes from the very thing that pulled Matt Berninger out of his writer’s block. This follow-up was recorded in the same studio sessions as its sister album and because of this, the two albums seamlessly flow together to tell a story of heartache to the listener. 

Usually with bands that have been releasing music for as long as The National has, the quality tends to dip with every release, but this couldn’t be further from the truth considering the beauty of this album and their last. 

The most notable element of the album is by far Bryan Devendorf’s drumming. Devendorf plays in a very unorthodox way, steering away from traditional rock grooves and playing the entire kit with intricate fills thrown in that caught my ear (despite my bias as a drummer.) Devendorf’s incredible drumming has been consistent since the release of the self-titled album debut in 2001. Over the years and with every new release, it gets better and better. I was lucky enough to catch the National on their tour for “The First Two Pages of Frankenstein” in Chicago and throughout the show, my eyes were glued to Devendorf and how he seamlessly flows around his drum kit effortlessly while staying in the pocket without any hiccups creating a very unique sound that makes The National who they are. 

Moving onto the album’s tracks, it is easy to say that my favorite is “Laugh Track” (ft. Phoebe Bridgers). With the feature of Bridgers’ voice complimenting Matt Berninger’s deep vocals, it is the perfect pair. This is not the first time Phoebe Bridgers has worked with the National, with previous releases such as “7 O’Clock News/Silent Night” with Matt Berninger reading news headlines from late 2019 with Phoebe Bridgers and Fiona Apple harmonizing over it, among many others. The lyricism in “Laugh Track” can be described as nothing other than heart-wrenchingly beautiful in the best way possible.

The National’s music is always lyric-focused, but the imagery of this track makes you feel like you are experiencing the situation of the two characters portrayed in this story. The first time I listened to this album I had to replay this song twice because, with every listen, a new line stood out to me. The first time through it was “all I am is shreds of doubt,” a truly irking lyric that gave me a visceral physical reaction, making me wince through the following line of lead singer Matt Berninger singing “So turn on the laugh track, Everyone knows you’re a wreck, You’re never this quiet, your smile is cracking, You just haven’t found what you’rе looking for yet.” The song continues on with the narrators hoping that if the “laugh track” is turned on, then the scene would change, hopefully saying that “maybe this is just the funniest version of us we’ve ever been,” hoping that the breakup of the two characters in this story is just some sort of sick joke and that once the laugh track plays, the situation that they have found themselves in isn’t their true reality. 

Phoebe Bridgers’ music has always held a special place in my heart since the release of her second album “Punisher.” This masterpiece of an album was released in June of 2020 right as the pandemic began to ravage the country and throughout lockdown and as the world began to heal, this album did the same for me. The way I listen to music, I have songs that exist in the sense of “core memories,” one of the main ones being the eighth track “Savior Complex.” This perfect blend of the soprano vocals of Bridgers and wispy background vocals paired with intricate finger-picked guitar and violin throughout the piece makes it one of her best, if not her best work that has been incredibly important to me. 

The seventh track, a featureless song titled “Space Invader,” portrays the narrator as someone who is experiencing intrusive thoughts about a previous relationship, reminiscing about how the two characters met, singing “What if I never wrote the letter I slipped in the record I gave you,” seeing hypotheticals about how he could have avoided the heartbreak he is now experiencing. This is a theme that was present on “The First Two Pages of Frankenstein,” especially on the second track, “Eucalyptus,” wherein the narrator sees hypotheticals while in the end stages of a relationship as they are splitting up their belongings. “Space Invader” is a clear second part to this, as the narrator is attempting to not think about the relationship that dwindled, and looking back at how his choices brought him to the point at which he is now: alone with nothing but memories. 

The album’s final feature is Rosanne Cash, the daughter of legendary country singer Johnny Cash with the song “Crumble.” Similar to the dichotomy created between Phoebe Bridgers’ voice and the deep baritone of Matt Berninger, Cash is the perfect fit for this song singing gorgeous background vocals about relying on other people to pick you up after presumably a heartbreak, with lines such as “Get yourself ready to catch what you can of me, get ready to pick me up.” The lyricism alone is enough to make this album a masterpiece but the inclusion of strings and layers upon layers of musicality that makes an incredibly dense sound that tugs at the heartstrings.

The album almost portrays the stages of grief, with the song “Deep End,” a much more upbeat song about the singer always thinking about the one he misses and going off the deep end, singing “when the sound of your voice comes, its hardly there, but its all I care about…I’m going off the deep end, barely sleeping.” The singer is experiencing anger towards the situation and is losing himself in the feelings of loss as though he is mourning the end of the relationship as if it was a person who passed away. 

The National is one of the most consistent bands currently producing music, with each new release retaining the quality of the last, if not improving every time. Each member of the band brings incredible talent to the album along with the incredible lineup of features that complement the sound of the band perfectly. 

That being said, it is going to be incredibly difficult for The National to create something that tops “Easy to Find or Trouble Will Find Me,” as these are some of the most incredible albums I have listened to and are easily the best of the band’s discography. The sound of the band has not differed since these releases and I believe that if they steer a different direction and branch out from the sound they have effectively trademarked, they will be able to create something entirely new that will rival these two releases.

I have yet to be disappointed with a release from this group of amazing musicians and I am already eager for their next project!

Jackson Small is an opinion writer. Contact him at [email protected].