Skip to main content

IN REVIEW: Matt Berninger - "Serpentine Prison"

 


Matt Berninger's commanding baritone is probably one of the most distinctive voices in rock over the last twenty years; through his main gig with The National, whose eight records and counting have garnered a swell of fan and critic support, he's achieved elder statesman status with a discography that one can put up there with any modern band. So as to say, he's yet to release an embarrassing batch of songs; the worst thing you can say is that an album or two have been underwhelming (or, put another way, not up to the lofty standards brought forth by his best work).

After twenty years with The National, the prospect of a Matt Berninger solo record was intriguing to me, since the only work he's done outside of The National that I'd familiarized myself with was EL VY, the side project launched in 2014 with Menomena's Brent Knopf; their lone record, Return to the Moon, found Berninger brazenly forging into the playful and humorous. Coming from a singer known for a band that's understated and occasionally maudlin, it was a breath of fresh air.

As it turns out, EL VY sets no precedent for Serpentine Prison; rather, these songs sound more in step with some of his greatest influences. There's a lot of Nick Cave in the arrangements, which the lush production from Booker T. Jones effectively brings out; it's all very tasteful and never bothers for wild detours, opting instead for a slow and safe sonic journey.

That might be disappointing for some fans to hear, and the barrage of ballads admittedly makes Serpentine Prison an experience you have to be in the mood for rather than get sucked into; still, there aren't any outright mistakes here. The cynical view is "National Lite", and Berninger has to know there's at least a little merit in that argument. The important distinction is, he shouldn't care; Serpentine Prison is a vision followed through on, a bleak one to be sure, but one that's also beautiful.

October 16, 2020 • Concord
Highlights Distant Axis • One More Second • Take Me Out of Town

Comments

Popular posts from this blog

Year in Rock 2025

  Alright, I've got some explaining to do.   By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but:   a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2014: And the Winners Are...

It's been a long year, and another great one for rock n' roll. While the pop charts were overrun with barely legals obsessed with their asses, rock soldiered on undeterred even as pundits (hell, in some cases even rockers themselves) mourned the genre. Sure, rock didn't dominate the money game in 2014, but that shouldn't evoke sad nostalgia and eulogies. Even for as little perceived impact rock music made, a hell of a lot happened if people had only paid attention. From grizzled vets adding jewels to their crown (Springsteen, Petty) to new beginnings (Against Me!, Antemasque) to happy returns (Faith No More, The Tea Party) and all points in between, rock continued to thrive, evolve and thrill in 2014. Enough talk. It's winning time. Your Year in Rock winners for 2014 are...

Hear Me Out: Why Do A Greatest Hits Album?

So, Silversun Pickups announced a "singles collection" today. Now, I'm no expert on "singles" or "hits" compilations; even so, I've got to say this announcement threw me for a loop for a couple of reasons. For starters, isn't it a bit early for a band like Silversun Pickups to be given the "greatest hits" treatment? I know, I know, it's a "singles collection". But, come on; it looks like a greatest hits album, it smells like a greatest hits album, so on so forth. More importantly, though, are these really necessary entities in 2014? I mean, who is this album for? Casual fans who've already downloaded the singles they like or established fans who are expected to shill out $15 for one new song?