- Follow @TheAndrewBlog
- Game of Thrones: “Dragonstone” Offers a Brilliant Homecoming
- Game of Thrones: The Beginning of the End in “The Winds of Winter”
- Spider-Man: Homecoming Stands Up for the Little Guy
- Harry Potter and the Magic That Fades – Wonder, Escapism, and Adulthood 20 Years Later
- Better Call Saul: The Winding Road between Jimmy McGill and Saul Goodman in “Lantern”
- real estate agent jobs kansas city on 7 Big Questions About Battlestar Galactica’s Finale
- 食素 on 7 Big Questions About Battlestar Galactica’s Finale
- askno695 on The Simpsons: “Duffless” – Homer’s Temporary Sobriety and How to Show Growth on a Sitcom
- Andrew Bloom on Laughing at Sincerity: The Room, Tommy Wiseau, and The Earnest Failure
- Sam on Laughing at Sincerity: The Room, Tommy Wiseau, and The Earnest Failure
Tag Archives: John Darnielle
One of the best things about the Mountain Goats’ voluminous back catalog is that it offers a plethora of entry points to the band and its music, with no two records quite the same. There’s frontman John Darnielle’s lo-fi, Panasonic boom box beginnings. There are the polished but no less earnest tracks from The Sunset Tree and Tallahassee. And there are the band’s recent releases, like Transcendental Youth and Beat the Champ, that take chances on unique concepts and different instrumentation, but don’t lack in lyrical punch or poignancy. There are any number of places to start with the Mountain Goats, and each is worthwhile and approachable on its own terms.
Goths continues in that untraditional tradition. The group’s Bandcamp page boasts that the album has “NO COMPED VOCALS, NO PITCH CORRECTION, NO GUITARS,” and it shows. Musically, Goths is driven by slick bass lines, strong percussion, and a bevy of what sounds like the sort of classroom instruments borrowed from the lesser lights of late night. Goths also leans hard on the horn section the band embraced in earnest on Transcendental Youth. It features heavy doses of synth, different shades of jazz, and even the occasional disco beat that immediately mark it as unique among Mountain Goats records. The band often comes up short in this novel approach, and the new direction can be off-putting for longtime listeners, but it certainly gives Goths a distinct flavor.
I first learned about The Mountain Goats’ latest album, Beat The Champ, when a friend of mine messaged me saying, “I’m pretty sure John Darnielle is releasing an album for you and you alone.” My friend was obviously joking, but she’s right that Beat The Champ, a concept album where each track is about some facet of professional wrestling, is tailored to a rather unusual venn diagram of fans. Despite the fact that Darnielle, the main creative voice behind The Mountain Goats, resides in a traditional hotbed for wrestling, there are probably few other folks in the world who have both sung Darnielle’s praises and also waxed philosophical about the main event at Wrestlemania.
And yet, there’s something very natural about Darnielle directing his humanizing gaze toward the squared circle. In the past, Darnielle’s shown a particular aptitude for writing poignant, heart-wrenching songs about vagabonds, broken men, and other self-destructive characters. Sadly, none of these individuals are in short supply in the wrestling business.