Matt Berninger – ‘Get Sunk’ album review: Pulling you in the deep blue below with immersive instrumentation
THE SKINNY: What’s the rush? That’s the question so many experienced artists feel like asking their younger selves with the benefit of retrospect. Despite the very idea of lyrical density being linked to musical brilliance, there comes a point in an artist’s career when they understand the strength of patience. Not that Matt Berninger has ever been a frenzied songwriter in the past, but it feels like right here on Get Sunk, he’s operating at a completely natural tempo.
But a deep dive into an introspective mind should be approached with diligence, and on Get Sunk, Berninger does exactly that. The opening track, ‘Inland Ocean,’ feels like the very moment your head breaks the surface of the big, deep blue, and your anxiety is tempered by a weightless sense of calm. Throughout the record, Berninger makes sure the soundscape exists within that immersive atmosphere, delicately using reverberated piano and distorted harmonies to create a stunning world of hope-tinged melancholy.
The true star of this record is its instrumentation. Measured, exquisitely layered and consistent with the overarching concept, it creates a sort of paradoxical feeling whereby it is grand enough to fill a big room and incite sing-alongs, yet somehow feels innately intimate. But it’s Berninger’s vocal takes that achieve that. Teetering on the edge of melancholy, Berninger adopts a reflective tone throughout the record as a means to temper the quiet exploration of existentialism of the album. It invites you to listen and make references of your own to his vivid imagery while paying important attention to the melodies that support it.
But everything is patiently executed. Berninger teases you with flourishes of break-out instrumentation be it in a subtle guitar solo, female harmony or on the last track, an organ. Opening doors of sonic expansion before soon closing them, to keep you immersed in this one coherent and conceptual soundscape, it’s a refined and accurate take of his own artistic voice.
For fans of: Floatation tanks and noise-cancelling headphones.
A concluding comment from my therapist: “Do you have any thoughts of your own this week or are you just going to recite Matt Berninger’s lyrics?”
Get Sunk track by track
Release: May 30th | Producer: Sean O’Brien | Label: Book/Concord Records
‘Inland Ocean’: The piano keys in the opening bar of this song are a sonic version of a headfirst dive into the deep blue ocean. Somewhere between daunting and euphoric, it completely envelopes you in this brooding atmosphere of Berninger’s album. The vocal harmonies only add to the track’s enchantment, making way for the much-needed introduction of Berninger’s deep vocals. [4/5]
‘No Love’: Despite the lo-fi rhythm section that could easily have been placed on a dystopic hip-hop track, Berninger is operating at a smooth and unfazed tempo on ‘No Love’. As the chorus line hits, it expands into something more euphoric, making it a clear choice for lead single. Although it lacks the nuance of the rest of the album. [3/5]
‘Bonnet Of Pins’: There’s a careful use of atmospheric sound throughout this album. Whether it’s reverberated guitars or ethereal keyboard chords, the very best songs of this album swirl in a soundscape that eludes you in the background. But on this track, Berninger chases it with a guitar melody, keeping you compelled throughout. [3.5/5]
‘Frozen Oranges’: A vivid lyrical take from Berninger that typifies the sort of hyper-specific imagery that laces the entire album. Paired with a more minimal sonic composition than the rest of the album, it allows the performance to be somewhat cinematic and compelling. [3/5]
‘Hand Habits – Breaking Into Acting’: Berninger’s heavy vocals are an absolute perfect pairing for the lyrical sentiment of this song that cuts down the falsehood of performance. As a fitting antidote to the references the song makes, Berninger and his harmoniser Meg Duffy feel deeply genuine in this performance. It’s warts and all, but beautiful at the very same time and paired with a stunning melody. [4.5/5]
‘Nowhere Special’: He takes his moody vocals to their absolute limit on this track, almost croaking over the song like a later-day Iggy Pop. It’s captivating and haunting, brightened only by a brilliant drum performance in the background. [3.5/5]
‘Little By Little’: While the instrumentation of this album has largely existed in support of Berninger on the album, on this song it feels more in conversation. His emotional monologue that bleeds throughout the song takes its time, leaving plenty of space elsewhere that the piano and guitar duly fill with minimalist but atmospheric flourishes. [4/5]
‘Junk’: This is just a really well-refined arrangement from Berninger. Stripping back the rhythm section to its bare bones of just a bass was absolutely the correct choice, as the delicate layering of reverberated textures is the star of the show. [4/5]
‘Silver Jeep’: Hello, brass section, where have you been? Throughout this entire record, it feels as though the light is seeping in through a crack in the door, illuminating spots of darkness that have been hiding beauty. On this track, when the instrumentation brings in one more element, it feels as though the door has been pushed further open, ready for us to walk through in the final song. [4/5]
‘Times Of Difficulty’: In an absolutely fitting end to a hypnotic album that has danced with itself in the weightless expanse of the deep blue sea, Berninger fully lets go on this song. The introduction of the organ feels equally as euphoric as ‘No Love’, but with more refinement and suitability. All the layers of texture that have been subtly toyed with throughout finally come together in sonic harmony. [4.5/5]
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