Matt Berninger’s Journey Beyond Darkness: An Analysis of *Get Sunk*
From Melancholy to Paralysis
Shortly after the release of his first solo album, *Serpentine Prison* in 2020, Matt Berninger, the lead singer of The National, found himself engulfed in a profound depression. This unsettling phase left him unable to write or sing, a stark contrast to his two-decade-long career spent exploring themes of melancholy. The sudden inability to articulate his emotions was deeply debilitating, forcing him to confront a year of paralysis. Through The National’s twin albums in 2023, *Laugh Track* and *First Two Pages of Frankenstein*, Berninger addressed this tumultuous period head-on, paving the way for a new chapter in his musical journey.
Shifting Perspectives in *Get Sunk*
With his second solo album, *Get Sunk*, Berninger appears determined to transcend his bleak experiences. However, this newfound positivity comes at a cost: the rich detail and self-analysis that characterized his work with The National seem absent. Instead of delving deep into his emotions, Berninger often gestures at insights without fully exploring them.
Opening Tracks: Vague Reflections
The album opens with “Inland Ocean,” featuring a tremolo guitar paired with gentle strings. Berninger’s lyrics hint at emotional turmoil but lack depth: “Lost cause, I have no emotions.” The repetition of this line by a choir feels more like a mantra than a profound revelation. Similarly, in “No Love,” he describes a disquieting location but fails to provide the emotional context that would enhance the listener’s experience. Lines like “This place has a sinking feeling/The energy’s so strange” resonate with unease, yet the straightforward major chords undermine any potential tension.
Contrasting Moments of Depth
Comparing *Get Sunk* to *First Two Pages of Frankenstein*, it’s evident that Berninger’s earlier work captured the mundane with dramatic flair. In “Once Upon a Poolside,” for instance, he skillfully navigates disorientation, weaving together sensory details—sweet perfume, planes descending, and a panic attack. In contrast, the opening of *Get Sunk* evokes a sense of slow-motion without the accompanying richness.
Intriguing Duets: A Glimmer of Connection
Despite its shortcomings, *Get Sunk* contains moments of intrigue, particularly in its duets. “Breaking Into Acting,” featuring Meg Duffy of Hand Habits, and “Silver Jeep,” with Julia Laws (a.k.a. Ronboy), break through Berninger’s introspective fog. Their contributions provide a refreshing contrast, allowing Berninger’s lyrics to blossom with detail. In “Silver Jeep,” he muses, “I gotta get a message to you without signals,” showcasing a willingness to confront the inexpressible rather than merely acknowledging it.
Conclusion: A Complex Journey Forward
While *Get Sunk* marks a departure from the intricate self-analysis that defined Berninger’s previous work, it also represents a significant step in his evolution as an artist. The album reflects his struggle to leave behind a dark chapter while grappling with the complexities of expression. Although some tracks may lack the depth fans have come to cherish, Berninger’s journey continues, hinting at the possibility of richer narratives in the future.
FAQs
What themes does *Get Sunk* explore?
*Get Sunk* explores themes of recovery, emotional ambiguity, and the struggle to articulate personal experiences after a period of depression.
How does *Get Sunk* compare to Berninger’s previous work with The National?
While *Get Sunk* showcases a more positive outlook, it lacks the rich detail and self-reflective depth that characterized Berninger’s work with The National.
Who are the featured artists on *Get Sunk*?
The album features duets with Meg Duffy of Hand Habits and Julia Laws, adding a different dynamic to Berninger’s sound.
What is the overall reception of *Get Sunk*?
The album has received mixed reviews, with some praising its moments of intrigue while others note its lack of depth compared to Berninger’s earlier works.
