Matt Berninger’s Intersections: Where Music Meets Influence

Matt Berninger, vocalist of The National, has a knack for weaving disparate threads into his music. His latest EP, Type It Up, is a case in point – an assortment of covers and originals that demonstrate the band’s leader’s fascination with reworking familiar material.

This isn’t just about putting new spins on old songs; it’s an exploration of how influence can be both a double-edged sword and a creative catalyst. Berninger’s forays into covering other artists’ work have yielded some striking results in the past, but Type It Up stands out due to its breadth and depth.

The EP features a range of classic tracks, from New Order’s “Blue Monday” to The Velvet Underground’s “Who Loves the Sun.” At first glance, these choices might seem eclectic, but they share a common thread: each is a song that has been subjected to various interpretations over the years, often with varying degrees of success.

One possible reading of Type It Up is as a reflection of our current moment. In an era where artists are constantly pushing against boundaries and trying new things, reinterpretation can be seen as a means to breathe new life into tired formats. However, there’s also the risk of dilution: when every song is treated like a remix or a rehashing of someone else’s work, what does it say about originality?

The National’s own discography has walked this tightrope before; with Type It Up, Berninger and his collaborators continue to probe the limits of their creative space. The addition of Rosanne Cash on “Who Loves the Sun” is another intriguing element, one that speaks to the interconnected nature of musical influences and collaborations.

As we listen through these six tracks – each one an exercise in reinterpretation, yet also distinctly its own thing – we’re forced to consider what it means for an artist like Berninger to engage with influence. Is this merely a tactical move, or is there something more at play? Given the breadth of his influences and the skill with which he integrates them into his work, one can’t help but feel that Type It Up represents more than just a fleeting fancy.

Rather, it’s an opportunity to see how Berninger navigates – and indeed, reimagines – the boundaries between homage and originality. With this EP, we’re not merely witnessing another batch of covers or reinterpretations; we’re observing an artist in conversation with his own influences, with the world around him, and ultimately, with himself.

In that sense, Type It Up may be less about “reinventing” anything than about revealing anew – a quality that, when applied to Berninger’s artistry, yields something uniquely captivating.