An analysis on Matt Berninger and his current legacy with The National...
From pushing the boundaries of the Indie landscape to becoming songwriting partners with Taylor Swift, here's the ongoing story of Cincinnati-native songwriter of the 21st century, Matt Berninger...
Hello, musical neighbors! It took me a little longer than planned to finish this post, but today I want to get into an artist that has piqued my interest lately. If all of you are familiar with The National, the most ground-breaking ambient indie band of the 21st century, then you are undoubtedly familiar with frontman Matt Berninger. Berninger has been a pretty strong influence in the music industry for some time; from being one of Taylor Swift’s main songwriting partners to now creating a sitcom under the radar. Just recently, he released his sophomore solo album Get Sunk, which stands as one of his most pivotal moments in his career. And I say “pivotal”, because it derives from a chaotic story worth telling…
Origins In Graphic Design & Secret Gigs
Berninger’s story starts in Cincinnati where Matt immediately graduates out of St. Xavier Catholic High School in 1989. Now, instead of the vision of any musical aspirations, Berninger struggled to find his footing in multiple professions, like pre-med at a college and sculpting not long after, before finally settling on graphic design at the University of Cincinnati. He would work at a program at DAAP on campus that was fairly new at the time that would lead him to accomplish works with the Metropolitan Museum of Art & the creators of Viagra (indeed, a very versatile range, lol). It was at this program that Berninger met Scott Devendorf (bassist of The National) who interested him in the hobby of forming a band, dubbed Nancy (named after Berninger’s mom).
They would set out to recruit members while on co-ops as part of their designing firms in New York City & San Francisco; UC classmates Casey Reas, Jeff Salem and Mike Brewer would join alongside them. However, strangely enough, Berninger was the only one who had no experience in music whatsoever. “Nancy” booked multiple indie gigs during co-op trips before performing at one last show at a Greek restaurant as soon as they graduated UC in 1996. Reas, Salem, & Brewer left afterwards, however, to pursue their individual professions and would later be replaced by Scott’s brother, Bryan (on drums), and Bryce & Aaron Dessner (on guitars, Aaron would also produce). It was at this point that “Nancy” officially became “The National”, a bashful musical talent formed in the secret night as an escape from their monotonous day jobs (although, the band used their graphic design talents to design their album artwork, so maybe not as tedious as one would assume, lol).
A Slow, Jarring, & “Embarrassing” Development
An unlikely event would help The National progress in their career, and that, musical neighbors, was none other than the tech bubble burst of 2001. It was right then that Berninger decided to stray away from his graphic designing works and divert more attention into The National. The band cut their first record that they self-titled in an effort to properly introduce themselves. The LP had a very laidback vibe that mixes elements of Knoepfler & Springsteen (who are both main influences, by the way), driven by DIY acoustics and classic indie rock instrumentation, topped with Berninger’s iconic baritone vocals. Positive reviews were present, but it did not get far commercially, supposedly in partial fact to the band’s unusually shy performances on tour. A journalist on music news site Albumism, Rayna Khaitan, recalls attending on of their shows and seeing Berninger “frequently turned away from the audience, opting instead to face his bandmates, tapping his fists to the sides of his arms, as if taking nervous solace in familiar friends and sounds”. And in an age where outgoing, flamboyant groups like Linkin Park, The Strokes, or Coldplay were overtaking the 2000s, a name like The National was as unconventional as you can get.
Years would pass and we would see the band release of Sad Songs For Dirty Lovers (2003) & Alligator (2005), as well as a short EP in 2004 entitled Cherry Tree. …Dirty Lovers adopted a more defined production and a soft-Brit rock vibe similar to that of Bright Eyes or Pulp, only more grounded & chill, showcasing an estranged experience of being vulnerably open about hurt connections in a town where no one reveals anything. Meanwhile, Alligator leaned more into the DIY, nostalgic tones of their personality, but also ushering in the gritty, energetic rock vibes you encounter with The Strokes or Interpol, on an album that explores the rough transition between small-towners to big-city trekkers. Much to the band’s fortune, both albums increased their range in pandering towards audiences and, in-turn, grew a very unique and expansive fanbase, as well as critical acclaim for their efforts on Alligator. Berninger was thankful for the minimal attention leading up to these pinnacle moments, as he alluded to being embarrassed by them during a 2016 interview: “I think we kinda got lucky that nobody took our picture for awhile… We got to get through some of the most awkward growing pains kinda in the shadows when no one was really watching. And nobody was expecting much.” Of course, he was referring to the stages before 2007, the year that kicked off the unforeseen, explosive notice that would carry with them for an entire decade after.
Boxer & High Violet (or Berninger’s Most Accomplished and Idiosyncratic Works)
Boxer would perhaps be The National’s most defining moment in their career as it would lay an interesting foundation for the Indie music world. Currently scoring an 8.6 on Pitchfork Review & donned with the badge of ‘Best New Music’ of the year, Boxer is the moment where The National’s true colors are displayed to the entire world at the most fully developed form yet and stands to be the band’s most pivotal LP they’ve ever created. For the first time, The National creates an album that sounds solely like The National, where you can identify them by more than just Berninger’s voice, but also his textures in songwriting and sound, as well as the band’s structural progression and use of ambient instrumentation (a majority of which recorded in their homes). With a tenderly cathartic theme of Berninger’s existential worry of maturity in the 21st-century modernizations, we see for the first time what it means to listen to The National: to be open about your anxieties, to appreciate dark humor, to find deeper shades of meaning amidst complex rhythms and structures. It is here that Berninger & his friends open the floodgates for the indie music world, pushing the boundaries of structure and lyrical context the way very few were able to before.
Boxer would go on to have widespread critical acclaim and commercial success in selling roughly 9,500 copies in its first week. Multiple magazines mentioned them in the top album lists of the year; examples include Pitchfork ranked it number 17 in their annual end-of-the-year list of 50 albums, Stylus ranked it number 5 in theirs (while ranking lead track “Fake Empire” in their “Top 50 songs of the year list”), and Rolling Stone ranked the track “Mistaken For Strangers” at number 92 of their top 100 songs of the year. The album propelled The National to make notable televised appearances including David Letterman (performing “Fake Empire”) & Craig Ferguson (performing “Apartment Story”, my favorite track off of the album). The band also created a documentary on the album, entitled A Skin, A Night, directed by Vincent Moon, which is only currently known to be found on Prime Video.
Following up their success was High Violet, which was met with equal, if not slightly, bigger critical acclaim upon its release. Such accolades would include an 8.7 on Pitchfork review (scoring the “Best New Music” badge once again), debuting at no.3 on the Billboard 200, and receiving myriads of praises from critics of all kinds, including BBC Music critic Mike Diver who stated that it was the band’s "finest disc to date". The album followed somewhat less of the textbook complex structure than that of its predecessor, however, the band maintained their contemplative melancholy that made them so huge, only this time with a more versatile production and orchestration. High Violet likely stands as the part two to Boxer, although, acting more as an antithesis narratively; as Boxer explores the transition into anxious constraints, High Violet longs to breach out of them, taking on slightly darker thematics and open audible dynamics, on tracks like “England”, “Anyone’s Ghost”, or one of their most memorable songs, “Bloodbuzz Ohio”. The National seems to reveal to their new audience members the part of Berninger that is somberly yearning and anxiously pondering, & as shy as he is, he drags us through an intricate neighborhood of the heart he wears on his sleeve. The National seems to act like Berninger’s diary for all the nervous and contemplative chapters of his life.
“I Need My Girl” and A Surprise Grammy Win (a.k.a ‘Sleep Well Beast’)
The National’s winning streak would continue with Trouble Will Find Me in 2013, where they would return to blending their past recent works together to reinforce their complex, contemplative ambient indie that is their staple once again. An album that wrestles with the internal turmoil of social connections and relationships, this album was Berninger at his most vulnerable and the band at their most emotionally invoking sounds capable. It is almost as if each record they create either digs even deeper into Berninger’s emotional landscape or his emotional landscape expands even bigger and more vibrantly. The album is helmed by The National’s biggest & most accomplished track “I Need My Girl”, an anxiously serene song on the desire for a loved one in an environment of unfulfilling faces. The heartbreakingly gloomy lyrics and echoic instrumentals struck a deep chord with many listeners & achieved certified gold statuses in the U.S. & New Zealand and platinum in Canada on the RIAA song sales. As for the album itself, Trouble Will Find Me managed to stay on the Billboard 200 for 25 weeks, where it peaked at no.3 on opening, and scoring massive critical acclaim with multiple music review sources like Pitchfork, The Guardian, Rolling Stone, NME, Spin, etc., the majority of reviewers ranking the LP between 4-5 stars on regular.
Check out the song's official music video here for more experience!
However, no one was able to prepare the “sad dads” (there, I said it, lol) from the overwhelming success they’d achieve just four years later with Sleep Well Beast. The record tackles a new stage of Berninger’s emotions, specifically when they spill out like wine onto a rug. We see bright and shining speckles of Berninger’s marriage in this album & his outlook on the ones that fall apart, which is further boosted by his wife co-writing along with him here. Berninger commented on an interview with Rolling Stone: “I’m happily married, but it’s hard, marriage is hard, and my wife and I are writing the lyrics together about our own struggles and it’s difficult to write, but it’s saving my marriage. Not saving my marriage, my marriage is healthy, but it’s good for everything! And so, it’s gonna be a strange record, and I’m crazy about it.” With the record’s neo-gothic and haunting production that drives the band into uncharted territory seemed like a painful gamble to initiate, yet somehow this would earn them some of the highest accolades they could ever achieve in their entire career! The LP would debut at no.2 on the Billboard 200 (despite staying on the charts for 4 weeks), multiple review sources ranked it as one of the best albums of the year, and it even won a Grammy for “Best Alternative Music Album” (the band’s only Grammy win). Uncharted territory, indeed.
Berninger’s Songwriting Journey… (or the lack thereof)
After the more decent success (in comparison to their winning streak) of their ambitious and carefully jagged-edged I Am Easy To Find in 2019, Berninger decided to hit pause on his time with the band and stretch his work into solo outlets (mostly due to COVID keeping company at bay). The biggest achievements to Berninger’s solo journey would be working with Taylor Swift on multiple occasions in songwriting, starting with the part.2 of her “folklore, evermore” era: Evermore. Berninger (under the moniker of The National) would appear on the track “coney island”, which would hit no.68 on the Billboard 100 upon release. This would not be the first time that Berninger worked with other songwriters, as he has collaborated with notable writers like Sufjan Stevens, Bon Iver, Phoebe Bridgers, and many others in the past. Berninger would also see the release of the film Cyrano (starring Peter Dinklage), a movie that was originally a 2018 musical written by the band themselves (the film didn’t do well at all unfortunately). COVID season would also see Berninger release his first ever solo studio effort, Serpentine Prison, which is a very different direction as opposed to his usual image with The National. The atmosphere of his solo record takes on a more laidback, sentimental approach rather than his staple nervous energy. He also takes on a more cinematic & nostalgic appeal in his production and structure. The results of this project are sweetly orchestrated and smooth to listen to, however, Berninger’s songwriting is smoothened out along with it, watering down his usual nuanced and enigmatic lyrics. Although they were fair and decent towards the LP, most reviewers found this to be a dampener to Berninger's labors here.
Although the lyricism was not in any case bad, it may have played a part in Berninger entering an unfortunate phase of life: writer’s block. That’s right; as hysterical as it sounds, Matt Berninger, one of the greatest songwriters of the current 21st century, fell into the despairing pit we songwriters know as writer’s block. Berninger would be open about this depressing stage of his life in an interview with The Independent on September 23rd, 2023: “I couldn’t even open a laptop, I could barely pick up my phone. Everything symbolized my paralysis. Everything was evidence of failure. So, once it started coming back, I thought: ‘I have to keep writing.’” Laura Barton, the journalist who interviewed Berninger here, recalled seeing him cry as he spoke of his period of depression, breaks of silence in-between as he tried to catch his breath. As someone who is currently in a repeated stage of writer’s block in songwriting, I can empathize with Berninger’s fears of losing his passions. Berninger seemed to be heavily fixated with his songwriting, as one can view just how tightly consistent his discography was and the huge number of collaborators that he teamed up with. Perhaps he was unaware of the intensive amount of time and effort he put into his passions, and the possibility of losing them petrified him…
…Then, A Terrific Bounce-Back!
Much to his hope, it is obvious that Berninger was able to win back his ability to write again, as his interview with The Independent took place during the promotion of a double-album created by The National’s reformation. Enter: First Two Pages Of Frankenstein & Laugh Track, Berninger & company’s explosive unload of years’ worth of art. Much like Berninger’s solo project, these two albums explain him and his band at their most mellow and reclusive, almost as if the band’s anxious drive has finally been relaxed. But, unlike the solo effort, Berninger recaptures his complex & nuanced lyricism in these songs. With heavy support from past, loyal collaborators (Sufjan, Iver, Bridgers, Swift, even Rosanne Cash), The National comes back into a strong full swing after the pandemic subsided. Reception for parts 1 & 2 were fairly objective, seeing as we were all used to The National’s unsettled attitude in their music, but regardless, critics and reviewers were rejoiceful to see their old friends’ fruitful comeback.
As if two albums back-to-back weren’t rejuvenating enough, Berninger returned to his solo project earlier this year with Get Sunk. One might call this a sequel in spirit to the double-album of 2023, as they both touch on the themes of Berninger’s depression period, but also, reflecting on the complexities of human vulnerabilities. Berninger used some unique methods to enhance his songwriting, including traveling to random places and writing while in those atmospheres. The result was superseding his attempts that he had with Serpentine Prison, creating a well-executed balance of complex lyricism and easy instrumentation. Despite a small amount of the album paced a little too linear, Get Sunk encapsulates Berninger at the finest point in his life: relaxed & contemplative.
What’s Next For Matt Berninger…
Currently, Matt Berninger is working with his brother, Tom, on a sitcom entitled Das Apes. The show is about a fictional band (likely inspired by Berninger’s ventures with The National) & features music from The Walkmen. The show was put on hold during Berninger’s writer’s block & pandemic era and has recently been granted a revival. Originally, Berninger wanted to be in the show himself but stated that, “I’ve realized that I don’t want to be an actor, but Tom is a genius. It’s still bubbling and ain’t dead yet. I don’t think it’s going to be called Das Apes anymore, but the concept is still alive.” Berninger announced this when he revealed that he was also working on a follow-up film for Mistaken For Strangers (a documentary film on The National’s biggest tour & his brother’s experiences with the band). On top of all that, he also informed us that he is working on a “catalogue of everything” book. This book is his means to celebrate all his collective creations that he has done in his life, from his graphic designs to his songwriting. In an interview with NME, he commented that: “I’ve been doing a lot of archiving over the last couple of years – especially since The National started slowing down. I’ve been asked to do a book of all my collected lyrics. That’s when I started going back and finding all my notebooks and all the songs that my college punk band Nancy made.”
Now, as for Berninger’s music career, either solo or with The National, there’s no knowing for sure if they will continue making music. There have been no announcements of the band parting ways, and seeing as Get Sunk has only just been released about three weeks ago, Berninger's solo project deserves a well-needed rest. I can hypothesize that Berninger & The National are in a place of serenity, which would’ve been a far-cry for the band two decades ago. Judging by that alone, Berninger seems to be in territory where he can call-it-a-day whenever he wants, where he’s plausibly done all he’s set out to do with his music. But on the other hand, it is clear that Berninger is always brimming with creativity and is able to nurture it in multiple ways, so it's also unlikely that his works in music are in short supply and that he has plenty on the backburner to sing about. Time will only tell if he shares it one way or another…
Conclude
Well, there you have it, neighbors, the musical life of Matt Berninger up until now and going forward. I hope you found it enlighteningly interesting diving into Berninger’s journey, like I did; it was a biography that seriously intrigued me. Feel free to comment any thoughts or feelings you have, like Berninger himself, The National, what they’re music means to you, anything else. If you haven’t heard their music before, I encourage you to go & listen to his (& their) music wherever you get your music, because it all is an incredibly unique experience. That’s all I have for today until then: “I Am Easy To Find”. Peace! (lol) <3
Bibliography
Revisit & Listen to The National’s Eponymous Debut Album ‘The National’ (2001) | Tribute
Matt Berninger Age, Net Worth & Career Highlights - Mabumbe
Musicians by Design, University of Cincinnati
16 Years Ago, This Brilliant Dad Rock Band Dropped Their Most Important Album
The National discuss their new album, Laugh Track, and coming back as ‘brothers’ | The Independent
Matt Berninger Resurfaces With Haunting New Solo Album “Get Sunk” | Hit Channel