By Azzam Bilal 
HangupsMusic.com – In the ever-evolving landscape of contemporary indie rock, few voices are as instantly recognizable or as emotionally resonant as that of Matt Berninger. Best known as the enigmatic, baritone-voiced frontman of the Grammy-winning Cincinnati outfit The National, Berninger has spent the last several years carving out a distinct and deeply personal space for himself as a solo artist. His latest offering, a multifaceted EP titled Type It Up, serves as both a bridge and a culmination of his recent artistic endeavors, offering fans a curated collection of new originals, reimagined classics, and live snapshots that capture the essence of his current creative trajectory.
The release of Type It Up follows closely on the heels of Berninger’s 2023 solo effort, Get Sunk, an album that further solidified his reputation as a master of the "sad-dad" aesthetic while pushing his sound into more experimental and stripped-back territories. While many artists use the period following a major album release to retreat and recharge, Berninger appears to have done the opposite. The Type It Up EP was born directly from the kinetic energy of the Get Sunk promotional tour, a journey that took him across continents and placed him in direct, nightly conversation with his audience.
This new collection is not merely a set of outtakes or leftovers; rather, it is a document of a songwriter in a state of constant flux. Berninger has often spoken about the iterative nature of his process, but Type It Up brings that process to the forefront. The EP features a mix of studio recordings that have been gestating in the live environment, most notably the title track itself. The history of "Type It Up" provides a fascinating glimpse into how Berninger interacts with his fanbase. Originally titled "Black Letter Font," the song underwent a lyrical transformation due to a humorous misunderstanding during live performances.
According to Berninger, the original chorus featured the line, "That would look good in a black letter font." However, as the tour progressed, he began to notice a recurring trend in social media comments and front-row feedback. Fans were consistently mishearing the sophisticated typographical reference as something significantly more provocative: "I would look good in a black leather thong." Embracing the absurdity of the situation, Berninger decided to lean into the confusion, eventually renaming the track and tweaking the lyrics to reflect the playful dynamic between the performer and the listener. In true Berninger fashion, he dryly noted that while he appreciated the audience’s imagination, he remains firmly a "black linen suit guy," a nod to the sartorial elegance that has become his trademark on stage.
Beyond the titular track, the EP introduces "Ask for Water," a brand-new composition that showcases Berninger’s ability to weave mundane observations into profound emotional narratives. To accompany the song’s release, Berninger collaborated with filmmaker and photographer Chris Sgroi on a music video that mirrors the track’s introspective mood. Sgroi, who has a long-standing professional relationship with Berninger and The National, brings a visual language to the project that is at once gritty and ethereal, capturing the quiet intensity that defines Berninger’s solo work.
The inclusion of "Martini Me Fatso" on the EP provides a sense of continuity for those who followed the Get Sunk cycle. The track, which served as a recent single, exemplifies the dry wit and self-deprecating humor that often balances the inherent melancholy of Berninger’s songwriting. For the physical release of the EP, collectors are treated to a special vinyl-exclusive version: an acoustic live recording of "Martini Me Fatso" captured during his recent stint in Australia. This version strips away the studio polish to reveal the raw, conversational heart of the song, highlighting the vulnerability that makes Berninger’s solo performances so compelling.
One of the most significant draws of Type It Up is its inclusion of two high-profile cover versions that Berninger has been teasing throughout the year. The first is a somber, atmospheric reimagining of New Order’s seminal dance-floor anthem, "Blue Monday." While the original is defined by its pioneering use of synthesizers and its driving electronic beat, Berninger’s interpretation pulls the song into the shadows. Originally commissioned as an Amazon Music Original, the cover strips the track of its club-ready artifice, focusing instead on the desolation and longing inherent in the lyrics. It is a transformative piece of work that demonstrates Berninger’s ability to find the dark, beating heart inside even the most upbeat pop structures.
The second cover on the EP is a rendition of The Velvet Underground’s "Who Loves the Sun," a track that originally appeared on the 1970 album Loaded. For this recording, Berninger enlisted the help of legendary singer-songwriter Rosanne Cash. The collaboration is a meeting of two generations of Americana and alternative royalty, with their voices blending in a way that feels both timeless and urgent. This version of "Who Loves the Sun" first gained traction after it was featured on the Australian television program Sunny Nights, and its inclusion here marks its official debut on a major label release. The choice of song is telling; the Velvet Underground has long been a foundational influence on Berninger’s vocal style and lyrical sensibilities, and paying homage to Lou Reed’s legacy alongside a peer like Cash adds a layer of historical weight to the EP.
The structure of Type It Up reflects the modern reality of the music industry, where EPs often serve as a way to gather disparate digital singles and exclusive content into a cohesive package. By combining the New Order and Velvet Underground covers with new material like "Ask for Water," Berninger provides a comprehensive snapshot of his 2024 creative output. The tracklist is carefully curated to take the listener on a journey from the wry humor of "Martini Me Fatso" to the haunting depths of "Blue Monday," ending with the communal warmth of the Rosanne Cash collaboration.
For fans of The National, Berninger’s solo work offers a different perspective on a familiar voice. While the band is known for its dense, orchestral arrangements and complex rhythmic structures—largely the work of the Dessner and Devendorf brothers—Berninger’s solo projects allow for more spontaneity and lyrical playfulness. On Type It Up, he seems more comfortable than ever in his own skin, willing to let the audience influence the final shape of his songs and unafraid to tackle iconic tracks by his musical heroes.
The production on the EP maintains the high standard set by Get Sunk, favoring organic textures, warm piano tones, and subtle electronic flourishes that complement Berninger’s low-register delivery. It is a sound that feels lived-in and intimate, as if the listener is being invited into a private rehearsal space or a late-night conversation.
As Berninger continues to balance his responsibilities with The National and his burgeoning solo career, Type It Up stands as a testament to his prolific nature. It is a reminder that for an artist of his caliber, the process of creation never truly stops; it simply changes form, moving from the notebook to the stage and back to the studio. Whether he is correcting a misheard lyric about a leather thong or finding new meaning in a decades-old New Order song, Berninger remains one of the most vital and engaging figures in modern music.
The EP is now available across all major streaming platforms, with the physical vinyl edition—including the exclusive Australian live track—available through select retailers such as Rough Trade. As Berninger prepares for his next chapter, Type It Up provides the perfect soundtrack for the transition, capturing a moment in time where humor, homage, and heartfelt songwriting intersect. For those who have followed his journey from the early days of the New York indie scene to the global stages he now commands, this EP is a welcome addition to an already storied discography.
