In 2007, various Alternative Distribution Alliance labels released “This Is NEXT,” the first in a series of compilations that were to be “Now That’s What I Call Music!”-style summaries of commercially viable “indie rock.” The project bombed terribly; almost all the material on the disc had been released freely beforehand, it had nothing exclusive or even difficult to find, and it likely did not introduce anyone to anything. Receiving a 0.0 from Pitchfork’s Matt LeMay likely didn’t help.
Curators Aaron and Bryce Dessner, of The National, have learned from that series’ failings. Dark Was The Night, an HIV/AIDS benefit released in collaboration with the Red Hot organization, serves as a striking summary of commercially viable “indie” music as it stands in 2009, consisting of 31 exclusive tracks from musicians who have enjoyed both critical acclaim and heavy rotation over coffee shop PAs. More than anything else, it succeeds because it rarely degenerates into the mishmash of tossed-off covers and live versions typically included on compilations like this one.
Both halves of the set are restrained, drawing on the recent popularity of experimental acoustic music more than anything else. Louder contributors turn in songs far more concerned with ambience and room sound than percussion, and the atmospherics of Bon Iver and Grizzly Bear shape the set’s overall aesthetic. Muhly’s arrangements on “So Far Around The Bend,” The National’s contribution, partner Matt Berninger’s depressive musings with borderline upbeat piano-pop. Portland’s Decemberists abandon their prog-rock leanings on “Sleepless,” a chamber-folk dirge uncharacteristically lacking in multisyllabic words. Additionally, the project spawned several collaborations; David Byrne joins Dirty Projectors on leadoff “Knotty Pine,” José González sings on the Books’ cover of Nick Drake’s “Cello Song,” and the Dessners work with both Antony Hegarty and Bon Iver’s Justin Vernon on strong tracks. Most noteworthy is likely Sufjan Stevens reinterpretation of Castanets’ “You Are The Blood,” a batshit ten-minute epic built on aggressive digital thumps and borderline-Romantic piano that underpin his signature mini-orchestra to stunning effect.
The second disc isn’t as consistent. It’s too heavy on covers and feels nowhere near as adventurous as its predecessor; Conor Oberst turns in a reworking of “Lua” and the New Pornographers do “Hey, Snow White,” a six-year-old Destroyer song. Cat Power’s “Amazing Grace” feels too much like a Jukebox outtake, and Buck 65’s rapping over Sufjan’s “You Are The Blood” is unnecessary. Even songs from Spoon, Arcade Fire, and Andrew Bird feel like potential B-sides; decent, but inessential, and clearly not their best work. However, Riceboy Sleeps, consisting of Jón Birgisson (of Sigur Rós) and Alex Somers, turn in a gorgeous piece called “Happiness,” and Kevin Drew’s “Love Vs. Porn” is among the best of Broken Social Scene’s low-key pop.
As a whole, “Dark Was The Night” does a lot of things right. It showcases accessible material from many forward-thinking contemporary musicians, yet has the potential to expand the audiences of everyone involved. It achieves a largely consistent sound over its 31 tracks, and plays from start-to-finish without sounding stilted or fractured like many compilations do.
As far as summaries of established late-2000s indie rock acts go, this could easily be the best.
