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

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