Story & Photo by Catie Keck
The National’s success on their most recent album, High Violet, skyrocketed the band to international chart-topping positions upon its release in May. The indie-rock group, comprised of two sets of brothers and baritone vocalist Matt Berninger, is currently headlining an international tour playing shows with Owen Pallet (formerly known as Final Fantasy), and Phosphorescent.
The National’s three-year recording hiatus between the release of its fourth full-length studio album, Boxer, and High Violet allowed the band the time necessary to produce a profound, buzz-worthy record. However, The National has had a number of hits prior to High Violet that have garnered some very noteworthy accomplishments. Their track  “Fake Empire” off Boxer was used for an Obama campaign ad, and the band has played multiple benefits and rallies, including the president’s Moving America Forward rally in Madison’s Library Mall at the University of Wisconsin last week. The National’s Bryce Dessner spoke with Ethos about their new album, the group’s many projects, and meeting the president.
Catie Keck: Matt’s been quoted as saying that he doesn’t necessarily enjoy touring. How has this tour been for the rest of you?
Bryce Dessner: The tour has been great. We’re finally at a level where it’s very comfortable. We have a really nice crew that travels with us, and we’re playing mostly bigger theaters now. A lot of them are really old historic theaters and they’re really beautiful, so we’re lucky. We never thought we’d get to this point where we could play certain places.
CK: Was there any particular reason that you waited three years before releasing another album after Boxer?
BD: We toured for almost three years for Boxer. We never really had a median by popularity; it’s been sort of a gradual thing. Our lives are a huge part of getting out and discovering the music. It does take us a long time to write a song, so a lot of that time was spent working on music. It takes us awhile to get a finished product.
CK: What, in your opinion, made High Violet so successful in comparison to your other albums?
BD: I think the record is great, and I think our other records are great. Boxer sold a lot more than Alligator because there were more people ready to hear what we were going to do. I think maybe the landscape of the music industry has shifted in a way that a band like The National has more potential to get out there. It’s hard to say what really did it. A few of the songs [off High Violet] are certainly getting more radio play.
CK: Was there any part of your recording process that differed from your other albums?
BD: We built our own recording studio with this record, so it was the first time we recorded from home. That way, there was a lot more time to develop sounds and work through ideas in a non-restrained environment. In ways it’s more organic. It definitely comes from having a space that’s ours, and being able to just work. It’s much different than paying for a studio.
CK: On Red Hot’s Dark Was the Night, you and your bother contributed songs in addition to The National’s track. Your brother collaborated with Bon Iver’s Justin Vernon, and you worked with Antony of Antony and the Johnsons. How did all of you get involved with the compilation?
BD: Red Hot is an organization that was started in the late 80s in New York City by John Carlin, who my brother knew. We became friendly, and a couple of those records are quite well known, like No Alternative, which was the one that had Nirvana and Smashing Pumpkins. Compilations are usually just grab bags with leftover songs that bands didn’t want on their records, but Red Hot actually produces their compilations. They have artistic direction. From day one my brother and I were signed on. The record has been successful creatively, but it’s been very successful for charity. We’ve already raised about 1.5 million dollars for AIDS charities around the world.
CK: So in addition to your involvement with Red Hot, and your commitment to The National, you also have another band, Clogs. You released The Creatures in the Garden of Lady Walton right around the time that The National released High Violet. How do you juggle both of those projects creatively?
BD: That’s a bit tricky. The National is super busy touring, and it’s the kind of band where we can play for a fairly big audience, whereas Clogs is different. It’s a special project, and it’s delicate music. You can’t play it everywhere. It’s not really the kind of music that any of us wants to tour. It’s a balancing act of trying to find time for both, but I typically say that projects like Clogs are secondary for me in terms of what I can devote a lot of time to. It’s kind of weird and I love doing it; we’ll keep making records, but it can get exhausting. You have to pick your battles.
CK: Speaking of touring, The National has had some pretty impressive bookings recently. What’s been your most memorable performance?
BD: Yesterday we got to perform before President Obama at a convention. We got to meet him. I’d say that’s the most exciting thing that’s happened on tour.

Gallery • 1 Photos

The National, Playing for the President