john darnielle

201. Design Your Own Container Garden

Alex Russell See America Right , , , , , , , , ,

One half of the Alpha Couple reflects on different, if not happier times, in “Design Your Own Container Garden.”

Track: “Design Your Own Container Garden”
Album: See America Right (2002)

A container garden is any garden in a pot or a container. It’s a way to describe anywhere a plant could be grown other than the ground. It’s a stretch, but the phrase “Design Your Own Container Garden” might refer to the Alpha Couple, who have uprooted themselves from the west coast and relocated to their miserable future in Florida. It might also just be a phrase John Darnielle saw in a catalog, thus a similar play on “See America Right,” the title of the single the song exists on.

The narrator drives out to a specific intersection in Los Angeles. As of this writing, it features a fried chicken chain restaurant, a check cashing place, and a storage center. The details don’t matter, but the specificity helps us picture that this corner matters. We have those in our lives, too. This member of the Alpha Couple doesn’t care about LA, they care about what happened when they were in this spot.

They mention “old friends, old friends” and later call them “here ghosts, old ghosts.” You can’t go home again, John Darnielle tells us again and again, but you can wander around where home used to be and feel the feelings that are left behind. “Design Your Own Container Garden” is filled with death imagery, as the narrator talks about feeling like a buzzard and walking through wreckage. It’s the “space we left behind” to this character, and it’s clearly not something they view positively now. It makes sense to be a b-side because it doesn’t fit tonally with Tallahassee, but it’s also interesting to wonder when in the timeline we are. Is this after everything, or does this character already feel sad even though they don’t know the worst of what’s to come?

200. The Monkey Song

Alex Russell Philyra, Protein Source of the Future...Now! , , , , ,

Does a song about a monkey in the basement hold greater meaning or is this really just “The Monkey Song?”

Track: “The Monkey Song”
Album: Philyra (1994) and Protein Source of the Future…Now! (1999)

“The Monkey Song” is not a traditional Mountain Goats song. It’s impossible to sing without a smile, given the absurd chorus about a monkey in the basement. “How did the monkey get there” and “where did the monkey come from” sound like lyrics from a children’s song. When played live, people have a good time and laugh along with John Darnielle. He sometimes even offers a mocking grand statement about the song to drive home the contrast with how silly it is.

There’s nothing wrong with a silly song. You will definitely wonder what this monkey is supposed to represent and why it’s in the basement, but you’ll just as quickly decide that you shouldn’t think so hard about a song called “The Monkey Song.” Given its placement on Philyra with a song about Portuguese water dogs, the urge to dismiss greater meaning is strong. But then, the other two songs on the album are serious, intense meditations on love and struggle. The other releases in 1994 tackle dark topics. What’s it all mean?

I’d like to say that “The Monkey Song” is the key to all of it. I’d like to suggest that it’s one of the songs that seems like it has a deeper meaning to unlock and in doing so, you gain a greater understanding of John Darnielle and yourself. More likely, it’s a silly song with a chorus that crowds can pick up on quickly. John Darnielle once told a story about playing in Europe and hearing a voice in the crowd yell something like “play monkey song!” in heavily accented English and how shocking it was. It’s not that there isn’t anything to understand here, it’s just that it may not always be the most important point.

198. Seed Song

Alex Russell Protein Source of the Future...Now!, Yam, the King of Crops , , , , , , , ,

“Seed Song” pivots in the middle to tell the beginning and end of a story about life.

Track: “Seed Song”
Album: Yam, the King of Crops (1994) and Protein Source of the Future…Now! (1999)

The first two verses of “Seed Song” follow a familiar construction for the Mountain Goats. It starts with a narrator telling us that it has not rained in a year, but someone still wants to sell the character seeds. A different character in the following verse insists that these people buy seeds from a catalog, but it still refuses to rain. “We sent him away,” the narrator repeats four times, to really drive the point home.

John Darnielle loves using repetition and emphasis. In “Seed Song,” these devices work well with the hypnotic tune and create a sense of relentlessness in the listener. The idea is straightforward (it is not raining, no one has use for seeds) but the implication is much bigger than that. We are made to understand that these people are in trouble, immediately, and it is repeated to the point that it is unmissable. “Seed Song” opens Yam, the King of Crops, and the first two verses are a dark way to start an album. In typical Mountain Goats fashion, things must get worse.

The construction of the third verse is similar, but the audience changes. The narrator addresses us directly with “And I know you’re waiting // for the ironic ending.” This plays with expectations, because at this point you must wonder what will happen to these people. The reality is that most stories end this way, as the narrator tells us “I know you’re waiting // for the rain to come by // so am I.” The repetition of “so am I” four times again follows the previous verse’s construction, but without the hope of a happier ending.

197. Going to Jamaica

Alex Russell Ghana, Taking the Dative , , , , , , , ,

Communication is key, and the poor substitute of gifts of flowers proves that in “Going to Jamaica.”

Track: “Going to Jamaica”
Album: Taking the Dative (1994), Ghana (1999)

“Going to Jamaica” is the survivor from Taking the Dative. Of the six songs on the album, it’s the one that sounds closest to the band’s later output. As a result, it’s the one you’re most likely to hear during the solo set in the middle of a Mountain Goats concert in this era of the band. Most versions of the song maintain what makes the original work so well, with biting punctuation at the end of each verse and slow, longing guitar.

There is debate about if this song involves the Alpha Couple, but the presence of an Alpha song directly after it on Taking the Dative (“Alpha Gelida”) seems to suggest otherwise. The distinction isn’t all that important, as “Going to Jamaica” hits all of the Alpha themes: desperation, lack of communication, unclear solutions to unclear problems. These two aren’t having the real conversation they need to have and they might still be early enough in that they know that, but it won’t change.

In both verses, the character we don’t hear from asks the narrator when they can leave. The narrator originally says “I’m not at liberty to say,” but changes to “Well, it’s any day now” by the end of the song. Neither of these feel honest, and both are followed by the same next step. As a distraction, the narrator pulls flowers out of the ground or “from the hands of children” for their partner. The same move twice gives the impression that the narrator is winging this and isn’t doing a good job. The camera pans away before the explosion, but we get a good sense of where this story is headed.

196. Wrong!

Alex Russell Ghana, Taking the Dative , , , , , , , ,

The curiously vague, sleepy “Wrong!” describes a familiar feeling without spoiling the universality with details.

Track: “Wrong!”
Album: Taking the Dative (1994), Ghana (1999)

There are very few Mountain Goats songs with an exclamation point in the title. Given what John Darnielle can accomplish in a song with a mundane title, “Wrong!” seems ripe for yelling and screaming. The result is surprising, with a lazy beat and the unmistakable sound of the early keyboard songs. This isn’t an angry anthem, it’s a quiet song sung under one’s breath.

John Darnielle says his angriest songs aren’t the screamers, they’re the ones that one character delivers to another in a hushed, furious tone. The classic example is the divorce story “Waving at You,” but “Wrong!” seems like it’s part of that tradition. It’s short enough to quote entirely, but you really just need the first verse: “You know // you know // you see // what’s going on with me // but you don’t do anything // you don’t do anything // you don’t do anything.” This character is at the end of a rope with this relationship and blames their partner even for their own problems.

The lyrics are simple and the music is minimal, which allows “Wrong!” to occupy any space needed for your situation. This could be a married couple headed towards divorce or it could be friends that don’t satisfy the needs they once did. This could be a new couple having their first fight. There aren’t any concrete details, so it’s anything. It’s certainly more universal than some of the more specific images in other songs, which is somewhat surprising for John Darnielle. There are a few songs like this out there that fill in the cracks when songs about a couple in Florida whose lives are crumbling don’t exactly match your current struggle.

195. Chino Love Song 1979

Alex Russell Ghana, Taking the Dative , , , , , , , , ,

The simplest of scenes provides the setting for a connection in “Chino Love Song 1979.”

Track: “Chino Love Song 1979”
Album: Taking the Dative (1994), Ghana (1999)

As far as I can tell, one of the only live performances of “Chino Love Song 1979” was in California in 2014, where the Mountain Goats played all of Taking the Dative in order. The crowd erupts during every local mention and the performance is worth hearing just to hear the blown out, sped up version complete with bass. In the fury of the moment, John Darnielle quadruples the closing refrain. The crowd yells along with him through every version of “I saw you // against the soda machine // I saw you leaning there.” It’s a really simple set of lines, but it says so much with such a straightforward image. You can see it, can’t you? There is no suggestion of how it should make you feel, but it does make you feel something.

The song is 20 years old at the time of that live show. John Darnielle misses or specifically removes a few lines, which really drives home how important that closing image is. The rest of the song is mundane, especially with descriptions of everyday life like “the traffic on Riverside Drive was thin // but by no means nonexistent.” The cars don’t matter and the sunflower that consumes the second verse doesn’t matter. These images and surrounding details are just there to get us to the moment where one character sees another one.

If it’s autobiographical, John Darnielle was twelve years old in 1979. It doesn’t need to be about him, but one wonders what late-twenties John Darnielle thought about himself as a younger man if so. It requires two steps outside of our own existence to imagine another person imagining another version of themselves. Whoever it is, it’s astounding how much we get out of simple images and a casual setting.

 

194. Standard Bitter Love Song #8

Alex Russell Ghana, Taking the Dative , , , , , , , , ,

“Standard Bitter Love Song #8” borrows a threat from an accused witch to talk about teenage love.

Track: “Standard Bitter Love Song #8”
Album: Taking the Dative (1994), Ghana (1999)

Lloyd Center is a three-story mall in Portland, Oregon. It’s an odd blend of ideas: the skating rink where Tonya Harding learned to skate, a for-profit college, a defunct Sears, and professional offices. It’s also a mall in Portland, which seems like an impossibility based on what we all think of when we think of Portland. Its Wikipedia article has a section titled “Crime,” though, so it makes sense as a location in a Mountain Goats song.

There are a few songs that share the “Standard Bitter Love Song” title, though there may not be eight. That doesn’t stop the existence of “Standard Bitter Love Song #8,” where one character pines over another at Lloyd Center. Most of the songs with this title structure are even angrier than normal Goats songs in this vein, and this one is no exception. Our narrator has “a mouth full of anger” and curses the couple with the damning “God will give them blood to drink.”

The refrain appears to come from The House of the Seven Gables by Nathaniel Hawthorne, where a character who is sentenced to death for witchcraft condemns their accuser with a similar line. It’s a gallows threat designed to leave those who will survive you with a chilling fear, which makes it perfect for the overblown emotions of a young person who feels spurned at the skating rink.

The song holds on this image. The narrator sees them leave and looks over the railing. The power of the standard bitter love songs is their ability to make dramatic images seem so perfect for mundane problems. Someone shoots a kite with a shotgun in one of them, but we get why. You grow out of these emotions, but when you’re skating-rink age, what’s more relatable than a lonely Friday night?

193. Orange Ball of Peace

Alex Russell Ghana, Taking the Dative , , , , , , , , ,

“Orange Ball of Peace” lets us inside the mind of someone we wouldn’t normally want to visit.

Track: “Orange Ball of Peace”
Album: Taking the Dative (1994), Ghana (1999)

In June of 2014, John Darnielle played the entirety of Taking the Dative at a show in San Francisco. If you listen to it, you’ll hear the glee in people’s voices as they realize that he’s just playing it all the way through. Every now and again (and mostly in California), the band revisits a very old album and surprises a crowd. Some bands do this with “classic” albums where the audience knows every song, but John Darnielle likely has other motivations. At the 20-year anniversary of Taking the Dative, it’s as likely as anything else that he just wanted to see if he could still play all six songs.

This is the only chance to hear certain songs. Songs like “Wrong!” aren’t live show staples. The same is true for “Orange Ball of Peace,” though it is more recognizable overall as one of the four “Orange Ball” songs. It’s the standout of those, too, if for no other reason than the chorus: “I’m a fireman // I’m a fireman.”

Our narrator had expectations placed upon them as a young person. “They wanted me to be a lawyer,” they tell us, but no dice. They throw off all expectations and become a “fireman.” The second verse clears up that they mean they’re setting fires as they “watch the flames climb higher” and feel smoke get in their eyes.

“Orange Ball of Peace” may just be a short song about an arsonist, but it’s an interesting demonstration of economy of language. We don’t know why this person does what they do, but the first verse makes us sympathetic. That reversal of first to second verse allows us to find a dark situation fun, which you can hear over the crowd as they scream “I’m a fireman // I’m a fireman!”

192. Going to Bangor

Alex Russell Bitter Melon Farm , , , , , , ,

 

Through a striking (but strange) image, we see two people struggling to communicate in “Going to Bangor.”

Track: “Going to Bangor”
Album: Bitter Melon Farm (1999)

In the liner notes for Bitter Melon Farm, John Darnielle talks about the emotion he hoped to stir up after playing “Going to Bangor” in Holland:

“I had envisioned romantic young Dutch men and women taking to the streets, pulling the old men away from their chess games and forming them into minor league baseball clubs with names like the Dordrecht Wild Ferns or the Ooij Interminable Dysfunctional Relationships.”

He makes a joke after that about it not having that impact. In the usual sources, that remains the full commentary on “Going to Bangor” both from fans and from John Darnielle himself. That’s not uncommon with the early songs, but it’s interesting in this case because it can be interpreted as a judgment on elements of the song. Certainly there are better Mountain Goats songs about “interminable dysfunctional relationships,” but “Going to Bangor” is a worthy entry to the catalog. It belongs in a category with so many other songs about shocking, mysterious imagery. The first verse concludes with “all the signs // are easy to read,” but is that true of a line about wild ferns growing?

There’s a lot to potentially unpack in “Going to Bangor,” but it seems likely that it’s not supposed to be figured out. The second verse is dominated by one character approaching the narrator with a mouth full of cranberries. They drip juice out of their mouth and we view this scene through the eyes of the narrator, who tells us they feel lied to and doubt their partner. It’s rarely this weird, but this is emotionally common ground for the Goats. You can certainly picture people forming baseball teams around it now, even if you couldn’t then.

191. Sail Babylon Springs

Alex Russell Babylon Springs EP , , , , , , ,

The rivers of Babylon may or may not help two desperate people in “Sail Babylon Springs.”

Track: “Sail Babylon Springs”
Album: Babylon Springs EP (2006)

Babylon Springs EP is a truly great record. The only review on the album’s Wikipedia page rates it as a “C+” from a publication whose site redirects now. I would be curious to read that middling review, because an album with “Alibi,” “Ox Baker Triumphant,” and “Wait For You,” commands your attention. It crosses all of the tempos and the moods that John Darnielle and company have to offer.

Directly after the explosive, speedy ode to infidelity’s fun parts “Alibi,” the quiet “Sail Babylon Springs” slows down. We might be in so many other Mountain Goats songs. The narrator stays away from a loved one in the basement (“Prana Ferox”) and they set up a conflict where one waits outside their home in the middle of a grand gesture (“Going to Scotland”). These seem like basic ideas, but it’s easy to draw the connections.

We don’t actually learn much about what’s happening here, but that helps us insert ourselves. “A little too proud // to let the matter drop” could be anything. The second verse closes with the narrator pleading for resolution. “You stand at your window looking down // jump if you want to jump,” they say, but John Darnielle’s voice rises as he repeats “jump if you want to” and we wonder if they actually might.

Babylon is so often a stand-in for something that used to be great but no longer exists. Its use here is as an idyllic source of water that is whatever you need. It’s cool in the first verse when it’s drinking water and it’s warm by the end as a place to swim. Our only hint here about if these springs are actually a cure is the last line, where the narrator says they are swimming “blindly along // through the rivers of Babylon.”