A collection of demos, b-sides, and live performances, The Virginia EP is a solid release from indie darlings/morose dudes The National. Although it doesn’t match up with the band’s most recent proper release, the much feted and breathlessly praised Boxer – and with the same cover style and font as that album, the EP is clearly meant to recall it – the EP is still a worthwhile release. With 12 songs and a running time of around 45 minutes, fans of the band certainly cannot complain about not getting their money’s worth. Even better, most of the songs are keepers and worth repeated listens.

The album is divided evenly between demos, studio cuts, and live tunes. Of the four demos, “Tall Saint” and “Forever After Days” are nearly album-ready and would have fit nicely on Boxer. “Rest of Years” is pretty rough even in demo form and suffers from oddly distant vocals. Final demo “Slow Show” is markedly different from the Boxer version. With an almost robotic musical and vocal arrangement, and significantly different lyrics that also appear on b-side “Blank Slate,” the song bears little resemblance to the finished album version. The demo seems rushed and cold; it gives little hint of the remarkable take eventually included on Boxer. Those indie dweebs interested in how a song’s lyrics and instrumentation evolve can geek out and find many other differences between the demo and finished versions.

Three of the four studio cuts are National originals, with the fourth being a cover version of Caroline Martin’s “Without Permission.” Originals “Santa Clara” and “Blank Slate” were previously issued as b-sides in the UK, and opening track “You’ve Done It Again, Virginia” is a previously unreleased version (a different version appeared on the “Lit Up” single). These three originals are all representative of both The National’s sound and the themes that recur throughout Matt Berninger’s lyrics.

The EP ends with four excellent live songs that give the listener a glimpse into what The National sound like in a live setting. Although the songs suffer from the visual element being taken away, and the version of Bruce Springsteen’s “Mansion on the Hill” sometimes seems a little forced and overwrought, the three other live songs will whet fans’ appetites for an official live album.