The National's frontman and main lyricist, Matt Berninger, releases his second solo project 'Get Sunk,' in which he continues to rediscover the confidence he believed he had lost, all while delving into new musical landscapes beyond his primary role.
Stream: ‘Get Sunk’ – Matt Berninger
I constantly contemplate time and distance. I reflect on the space that exists between two specific points or places, and what transpires in that space—regardless of how far or how long the distance may be. I ponder whether there’s a possibility for these two distant points, which may not always be in opposition, to gradually draw closer together. An intersection. A convergence. At times, even a collision. I am often thinking about our current selves versus who we were at particular moments in the past, whether years ago or just distance traveled. I consider the ways we have evolved, matured, or grown. Conversely, I also reflect on the aspects of ourselves that remain unchanged, even if they're not flattering, which we continue to hold onto, no matter how much time goes by. I believe there are chances for intersection, or perhaps collision. I don't want to—nor do I often wish to—regress into behaviors or patterns I have worked to move beyond. It's not truly regression, but more of a recognition or acceptance, albeit with some reluctance. One can see their former self, and perhaps at a distance, who they aspire to become, while in the center, there’s the present self.
* * *
We have The National in our home. If you dwell in certain corners of the internet, you’ll understand the inside joke here. My purpose in bringing it up isn't to belittle or be condescending but to frame a thought I frequently consider and try to compare. If you’re similar to me, you, too, may be pondering this. Listening with a critical ear while factoring in various nuances, no matter how insignificant they may initially seem.
In the realm of contemporary popular music, I think often about the concept of the solo album, particularly from an artist whose voice is intrinsically linked to their band. Similar questions arise when an artist embarks on a new project entirely. How does that particular band or project stand apart? Besides the shared vocal talent, what similarities exist?
What distinguishes a solo album? Is there something special about the tone or aesthetic that helps it differ from the artist's primary band? Are there elements that remain consistent?
Does this matter at all? Perhaps, if you don't engage with music analytically, it might not. You might not want to grapple with these questions when simply trying to enjoy an album. But if you're like me and approach music in an analytical way, there may be times you’ve pondered these very queries.
Matthew Donald Berninger’s initial solo venture away from his established role as the unmistakable voice of the well-loved indie rock band The National came about a decade ago. He teamed up with Brent Knopf of Menomena to form EL VY (the plural of Elvis). They produced one album titled Return to the Moon, and while the group is still listed as active on Wikipedia, I would characterize it as long dormant.
Although it might seem tempting to label Return to the Moon as a midlife crisis album, it coincided with Berninger growing his hair to a questionable length and moving to California with his family. I listened to the album then, and during the early days of my music writing career online, I wrote a piece about it. Over the past ten years, I haven’t revisited it and, quite frankly, had entirely forgotten about it.
We have The National at home. I argue that The National are one of the few bands to successfully navigate the early 2000s when mp3 blogs thrived, and a Pitchfork score could significantly impact success. Their ascension to fame took time, and once they grew an audience, their sound continued to expand and evolve, as did Berninger as a vocalist and lyricist.
As a singer known for his resonant baritone, Berninger gained confidence over time. In the band’s early albums, he often employed a “speak/sing” style that he occasionally still uses, but now it’s far more melodic.
As a writer, the rich, literate ambiguity present in songs like “Alligator” or its successor “Boxer” isn’t completely gone, but over time—and with age—the clarity in his lyrics has grown considerably.
Berninger's solo debut came near the end of 2020 amid an inconvenient time for creativity, exacerbated by the onset of the pandemic. Written and recorded before COVID-19, *Serpentine Prison* featured collaboration with the unlikely Booker T. Jones of Booker T. And The M.G.s. Their prior collaboration occurred in 2011 on "Representing Memphis," but pairing a middle-aged white man with a 75-year-old soul legend
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Matt Berninger, the frontman and main lyricist of The National, returns with his second solo project 'Get Sunk,' where he strives to reclaim the confidence he believed he had lost, all while delving into new musical textures beyond his primary role.