Editor’s Note: From Albumism’s inception back in 2016, we’ve remained unabashedly and unequivocally passionate about our mission of celebrating the world's love affairs with albums past, present and future.

But while our devotion to the album as an art form has remained steadfast, as evidenced by our deepening repository of individual album tributes and reviews, we’ve admittedly seldom taken the opportunity to explicitly articulate our reverence for the virtues of artists’ complete album repertoires as a whole.

Hence why we’ve decided to showcase what we believe to be the most dynamic discographies of all time in this recurring series. In doing so, we hope to better understand the broader creative context within which our most beloved individual albums exist, while acknowledging the full breadth of their creators’ artistry, career arcs, and overall contributions to the ever-evolving musical landscape.

We hope you enjoy this series and be sure to check here periodically for the latest installments.

THE NATIONAL

By the time I was in my mid-20s, I was pretty fulfilled, musically speaking. I’d already spent half of my life seeking out new bands and albums, and there were no gaping holes. I certainly didn’t need another prime-time player.

But then, The National came nibbling at my ears with Alligator (2005). Inside a few months, I’d gone from vaguely intrigued to madly enchanted—and there would be no turning back. The five-piece simply dazzled every step away of the way, and I hopelessly followed.

It didn’t hurt either that this band of Cincinnati natives came together in New York City—the luminous metropolis that I, too, would soon call home. Alligator, the Brooklyn-based quintet’s third album, had proven pivotal, winning effusive reviews and inclusion in multiple year-end indie lists. But, when follow-up Boxer (2007) arrived in all its punch and polish, it immediately assuaged any doubts and captivated critics everywhere. The National had clearly blasted into a new echelon. As I watched them take the stage at storied institutions around New York, I fell harder for the band and the city. My love for the two, forever intertwined.

After extensive touring for Boxer, The National took a short break, giving me time to absorb the two LPs and one EP that preceded my discovery of Alligator. I found myself taken with those as well—was this band capable of doing any wrong?

The answer came with their fifth album, High Violet (2010), and every effort that’s tumbled forth after. And though the lineup has remained consistent since their forming in 1999, they’re constantly challenging themselves to develop new ways of expression. Lord knows they’ve been testing me in the process, too.

The first time, for example, I heard Trouble Will Find Me (2013), I felt a little cheated, like, “wait, that’s it?” But no, silly me, of course it wasn’t it. The more I listened, the more I picked up on all the special details and subtle dynamics that make The National so vibrant and magnetic. Their songcraft demands repeat listens. There’s no way to get it all during initial listens. Instead, little things will tuck into your mind, like insidious eyes peering into your soul in the deep of night.

And while the hazy beauty of The National’s seventh LP Sleep Well Beast (2017) intoxicated me more immediately, their eighth I Am Easy to Find (2019) came bearing a surprise—a multitude of prominent voices emoting alongside singer Matt Berninger. I’ll admit I initially didn’t find the idea appealing in the least. But, it completely worked in the context of the album, helping to illustrate the web of people who come into our lives and form the fabric of individual existence.

At this point, 16 years after meeting Alligator, I’d say The National themselves are now undeniably entrenched in my being. They are the favorite I never wanted, but now actively need.

Rayna’s 3 Favorite Albums by The National:

1. Alligator (2005)
2. High Violet (2010)
3. Sleep Well Beast (2017)

VISIT The National’s Official Store

LISTEN & WATCH: