Review: Matt Berninger – Get Sunk

The National singer’s second album is a record glowing in warmth and uplifting melancholia.

As frontman of The National for well over two decades, Matt Berninger is today regarded as one of the most cherished singers in American alt-rock. In 2020, the baritone-voiced singer embarked on a side-project outside the Cincinnati band, this time taking the plunge into solo artistry.

Debut Serpentine Prison was a welcomed lockdown surprise, albeit not the finished article. Five years on - and two The National albums later - and Berninger betters himself on the fantastic Get Sunk: a record beautifully textured and vulnerable, heart-aching and therapeutic.

Recorded with producer Sean O’Brien, the process for his second solo effort began during a bout of depression and writer’s block. Soon enough, the singer created a batch of songs under the title “Get Sunk” to soundtrack this moment of personal difficulty.

The end result is certainly impressive. ‘Inland Ocean’ begins on a soothing note, Julia Laws backing harmonies creating an idyllic backdrop to Berninger’s despair: “God loves the inland ocean / Lost cause, I have no emotion” he pleads in the chorus.

‘No Love’ then offers a change in its frantic rhythmic patterns, blissful pianos and euphoric chorus. On ‘Bonnet of Pins’ the tempo differs again with a heavier rock sound, contrasting nicely with Berninger’s croaky vocals to double down on the record’s gloomy vibe.

After a strong start, the quality continues into the album’s midsection. ‘Frozen Oranges’ is minimal and mournful, containing an understated emotional draw to remind us of Berninger’s subtle songwriting power.

Two tracks on and ‘Nowhere Special’ is another captivating moment – the moody aesthetics compliment the singer’s detached vocals and incoherent verse delivery.

‘Times of Difficulty’ later feels like a fitting way to wrap up. It’s texturally gorgeous. Berninger lays bare his vulnerabilities one final time with the repeated refrain of the songs title blissfully playing us out.

The National’s 2023 double release of The First Two Pages of Frankenstein and Last Laugh are widely regarded a blot on an otherwise glowing report card. Two years on Berninger rights this wrong with a record glowing in warmth and uplifting melancholia. All in all, there’s an elegance and emotive pull lacking in much of his main band’s most recent output.

4/5