john darnielle

127. Half Dead

Alex Russell Get Lonely , , , , , , , , , ,

 

“Half Dead” is there for you when you need it, though you definitely don’t ever want to need it.

Track: “Half Dead”
Album: Get Lonely (2006)

Get Lonely is about solitude and the emotions that accompany it. It’s a fragile album that is unlikely to connect with you if you listen to it in a good mood. “If You See Light” is the closest to an “upbeat” song on the album, even though you’ll see couples swaying peacefully to “Woke Up New” at live shows. John Darnielle says he’s surprised that people say the album is about a breakup, but that seems to be the general consensus. A breakup is the most obvious and repeatable way loneliness shows up for most people. The songs on Get Lonely aren’t all directly about a breakup, but they’re about how you feel when someone (or everyone) is gone.

A lot of the early catalog looks at antagonistic lovers or conflict between unknown parties, but Get Lonely looks at the aftermath. It’s not totally new ground for the band, but John Darnielle really lets his guard down all across Get Lonely. “Wild Sage” in particular is chilling and absolutely the best song at every live show because you can feel how much he loves it. Get Lonely is a nice bridge between the autobiographical The Sunset Tree and the explosive Heretic Pride, but you need to be open to approach it.

“Half Dead” is about someone being gone. It’s a straightforward song about the morning someone you love and need is no longer there for you. They may be dead or they may be just gone, but there’s a totality to “Half Dead” that makes the distinction not important. The narrator goes outside and wails “what are the years we gave each other ever gonna be worth?” In a different tone or a different song that might be an angry line, but here it feels like an admission of defeat.

126. Hardpan Song

Alex Russell All Hail West Texas , , , , , , , ,

In “Hardpan Song,” a narrator considers how terrible weather is relatable when you’re feeling down and out.

Track: “Hardpan Song”
Album: All Hail West Texas (2013 reissue)

Merge Records reissued All Hail West Texas in 2013 with seven additional tracks. The original 2002 release is a turning point for John Darnielle, and you’ll find lots of devotees who call it the best album he’s released. It has several iconic songs and straddles all the moods of a great Mountain Goats album from deep and personal depression to boundless and triumphant love. The seven additional tracks on the 2013 release include an alternate take of “Jenny” and some really interesting oddities, with the main connective tissue being that they all sound like they would have made sense on All Hail West Texas from the start.

“Hardpan Song” opens with a sample from the radio and sounds like so many songs from the first decade of the Mountain Goats. In the liner notes of the reissue John Darnielle says as much and says that it doesn’t really feel right for the album. It’s definitely classic Darnielle, with the incongruous jazz and then a low, quiet musing about plant growth and how it’s just like his own sad existence.

Hardpan is soil that won’t keep water and thus won’t grow anything. The narrator thinks about hardpan and how ruined soil seems like it’s ruined forever, but then it rains and rains sometimes. They snarl “it shows no signs of stopping” and it’s clear that the miserable conditions evoke something else. It’s too brief for us to know exactly what situation is at play here, but the tense guitar and “the rain comes // it floods the town // and kills everybody in it” tell us that it’s not a great day in Texas. “Hardpan Song” is essentially a musing on “when it rains it pours,” but with typical Mountain Goats flourish.

125. Early Spring

Alex Russell Bitter Melon Farm, Transmissions to Horace , , , , , , , ,

Spring is typically a time of renewal, but the Mountain Goats remind us that not every new sensation is a good one in “Early Spring.”

Track: “Early Spring”
Album: Transmissions to Horace (1993) and Bitter Melon Farm (1999)

“Early Spring” is the second song on Transmissions to Horace, the very early Mountain Goats album. Like every other song on the album, it was played in San Francisco in 2014 when John Darnielle played every song in order on one weird, beautiful summer night. After “Early Spring” one guy shouted “cover to cover” as a request. He hoped that, somehow, John Darnielle might play all 10 of those ancient songs in a row. He got what he wanted.

The album version is slow and creepy. John Darnielle’s voice is almost emotionless as he lists the truths of a couple’s current state of affairs. The coffee’s worse than it used to be, the paint’s peeling, and even jokes and songs have lost their luster. He lists these problems and closes each verse with “and I know you” twice. The narrator survived the winter with someone but now, in the spring, it seems like they see their situation in a much worse way.

The live version is what that guy wanted to hear. He wanted to hear John Darnielle speed up the delivery and howl “it’s a lie!” The second verse that night in San Francisco is why this song exists. You can hear John Darnielle’s fury and the emotion the narrator wants their mundane complaints to carry. “I know you” is a simple sentence that carries real darkness here, and it’s telling that even when John Darnielle yells the rest of the song he lowers his voice to deliver “I know you” the only way it can come across. It might be a period on the end of this relationship or it might just be the sign of another bad night, but it’s undeniably loaded no matter what.

124. The Hot Garden Stomp

Alex Russell Hot Garden Stomp , , , , , , ,

 

John Darnielle doesn’t write songs like “The Hot Garden Stomp” these days, but you can visit his most troubled characters in 1993.

Track: “The Hot Garden Stomp”
Album: Hot Garden Stomp (1993)

Some of the early Mountain Goats songs feature the same type of narrator. It may not be the same character, but it’s at the very least the same type of character: a sad person who is convinced that the right person could save their life with no effort put in on their part. It’s a reductive way to view another person, but it’s also a fairly common line of thinking among young people who haven’t realized the world doesn’t exist to serve their whims.

John Darnielle says that those type of narrators aren’t interesting to him anymore, but “those songs are not without their occasional charms.” There are scattered songs in the early part of the catalog that fit into this category and most of them don’t see the light of day now. “The Hot Garden Stomp” is a foot-stomper and works even now as long as you can separate the artist from the character.

Darnielle says these days of his main character that he’s “not impressed by his suffering” and there is no better summation of that angst than “I hear you talking // shut up.” These days Mountain Goats characters are more complex, but in 1993 it was enough to be furious and sweat in a hot room.

Live versions work better than the studio version in this case. The trip back to 1993 with the tape crackles is interesting, but the howl over “then you came along with your questions, always questions” on live versions sells this old gem. It’s also worth tracking down this recording from Bloomington, IN in 2011 where Darnielle discusses the gender neutrality of all of his characters and why he doesn’t like writing about people with worldviews like this anymore.

123. Leaving Home

Alex Russell Ghana , , , , , , ,

For John Darnielle, “Leaving Home” is a way to process the sad feeling of moving away from somewhere you love.

Track: “Leaving Home”
Album: Ghana (1999)

“Leaving Home” was originally released in 1996 as part of a compilation called Cyanide Guilt Trip. It was re-released on Ghana three years later with several other oddities and early tracks. Ghana is an essential album because it covers so much ground, but it’s odd to listen to in one sitting. It has some funny, light songs like “Anti Music Song” and “The Anglo-Saxons” and some emotional, quiet songs like “The Last Day of Jimi Hendrix’s Life” and “Raja Vocative.” It’s not that one type of song is better than the other, it’s just that they don’t necessarily flow into one another. You thus need to listen to Ghana the way you’d read a history textbook. It has all the details, though the story may not always feel linear.

“Leaving Home” belongs in the second group. In the liner notes on Ghana, John Darnielle says that he wrote it while he lived in Chicago for six months in 1995 and that he missed his home in California. It’s rare for John Darnielle to be this forthcoming: “It seems maudlin to say things out loud, so I made up a whole different set of circumstances with which to surround the feeling.” Everyone can remember a time they moved and felt like they were in the wrong place, even briefly.

John Darnielle replaces his situation with a couple with a young child. They’re in love. The speaker remarks on China, their home, as it shrinks into the distance. They share longing glances, but they also comment on how they’re deeply in love and might just need each other. It’s rare for a Mountain Goats song to discuss such uncomplicated love, and it feels like John Darnielle needed to imagine what would justify the choice to leave somewhere you don’t want to leave.

122. Treetop Song

Alex Russell New Asian Cinema , , , , , , ,

 

“Treetop Song” is a rare bit of positive thinking in the world of the Mountain Goats.

Track: “Treetop Song”
Album: New Asian Cinema (1998)

At this show on April 9th, 2009 in Bloomington, Indiana, John Darnielle played some of Moon Colony Bloodbath with John Vanderslice. He played the never-released “For TG&Y” and the old classic “Cobscook Bay.” At the end, he came out and played a three-song encore that many Mountain Goats fans would swoon over: “Treetop Song,” “Cutter,” and of course, “No Children.”

This performance is the only live recording of “Treetop Song” that I can find. John Darnielle stumbles over a line towards the end and the crowd has to help him. This happens sometimes when he tries to play a very old, very rare song. It’s endearing, because it shows that even the man himself can’t keep a 500+ song catalog in his head at once. It’s always a fun moment when one voice calls out the missing lyric to a weird song in the middle of a concert, even if that might sound like a weird thing to like.

You won’t hear this live very often because the harmonica is important and that’s John Darnielle playing it. Aside from the harmonica, it’s almost a slight song. Both Darnielle’s delivery and strumming seem calm. It’s a great album-ending track in that way. The characters in New Asian Cinema are all struggling, but we see most of them right before the bubble bursts. The narrator of “Treetop Song” makes a decision to jump from one tree to another, but they also assure us that this choice means good things. Darnielle emphasizes the “be” in “And I knew that I would be all right.” In other songs this kind of statement might make you wonder if they were trying to convince themselves, but here it sounds like a fact.

110. The Last Day of Jimi Hendrix’s Life

Alex Russell Ghana , , , , , , , ,

“The Last Day of Jimi Hendrix’s Life” muses on he meaning of big things for other people versus small things for ourselves.

Track: “The Last Day of Jimi Hendrix’s Life”
Album: Ghana (1999)

So many Mountain Goats songs suggest an interpretation but stop short of insisting upon one. It’s easy to infer what songs about the folly of insurance fraud or the risks of selling drugs are supposed to make us feel, but rarely does John Darnielle directly say “this song is about this thing.”

Darnielle himself responded to a comment on his Tumblr and told a fan that “The Last Day of Jimi Hendrix’s Life” is “essentially a riff on ‘Musee de Beaux Arts’,” which is a poem by W. H. Auden. The fan asked why the song ends before it discusses Jimi Hendrix’s death, but Darnielle insists that’s the whole idea. He said that it would “lose whatever power it has” if it devolved into drugs and death.

The song is quiet, even for an early Goats song. You can picture Jimi Hendrix waking up and performing the basic tasks described in the lyrics. Darnielle highlights relatable things for a reason. His Jimi Hendrix is about to die, but today he’s just having a normal morning. If you’re lucky, you’ll have thousands and thousands of mornings like this and the last one you have will look a lot like the others.

Auden’s poem examines a classic painting: Landscape with the Fall of Icarus. Icarus is shown in the sea after burning his wings, but none of the other people seem to care. They have their own lives, so even the remarkable story of the fall of Icarus means very little. Darnielle doesn’t tell us how to feel about it, but he echoes Auden’s notion that we must be who we are and live in our experiences, even when circumstances seem like they deserve more attention and pause.

109. Michael Myers Resplendent

Alex Russell Heretic Pride , , , , , , ,

The Mountain Goats consider the man himself and the man playing him in “Michael Myers Resplendent.”

Track: “Michael Myers Resplendent”
Album: Heretic Pride (2008)

John Darnielle’s personal interests are varied. He loves boxing, professional wrestling, and metal. He’s done a wrestling album and there are a half-dozen songs in the catalog that are directly about boxing. The metal influences can be harder to spot. The trappings of metal (darkness, macabre elements, horror, etc.) are certainly present, but my knowledge of that world only goes so far. I’m not a horror fan and as much as I love the Goats, I can’t get into everything John Darnielle loves the way he can.

The thing is: that’s okay. You don’t need to love wrestling to listen to Beat the Champ. You don’t even need to have seen Halloween II to appreciate “Michael Myers Resplendent.” You just need to know that the slasher gets burned in a house fire. You can handle the rest in your mind.

“Resplendent” means “attractive or impressive through being richly colorful or sumptuous.” It comes from the Latin verb for “to shine” and shares space in our language with “splendid.” It’s a truly fantastic word that doesn’t get used very often. It’s rare that “resplendent” is the exact word you need. It is the exact word for a man ablaze not emerging victorious from something. He’s a force of nature, less a man than an idea, and he’s not the “winner.” John Darnielle wants you to consider the monster in its final moments. Even if you can’t pity this character, you can appreciate that the victory for the other characters has another side.

Darnielle includes enough detail in the song that you can tell it’s about the actor portraying Michael Myers. The song works when just describing the character, but it adds an extra element of sadness given the preparation it takes just to play the doomed monster’s role.

108. High Hawk Season

Alex Russell All Eternals Deck , , , , , , , ,

 

“High Hawk Season” examines the cast of the cult classic The Warriors as Mountain Goats characters.

Track: “High Hawk Season”
Album: All Eternals Deck (2011)

All Eternals Deck is about a fictional set of tarot cards and each song represents a card. The conceit is easy to identify in songs like “Birth of Serpents” and “Damn These Vampires,” but it’s murky in more direct songs like “Sourdoire Valley Song” and “Liza Forever Minnelli.”

John Darnielle says that “High Hawk Season” is about the plot of the cult-classic film The Warriors. In the film, nine Warriors must escape dozens (and potentially hundreds) of other gangs after someone shoots another gang leader in Van Cortlandt Park and pins it on the Warriors. It’s campy as hell, but it holds up as exciting and filled with machismo. The characterization is thin and your mileage may vary for the narrative, but the drama of the chase in the film is infectious.

The song’s parallels with the movie are obvious. The Warriors in “High Hawk Season” are “young supernovas” and they travel all night towards their own version of happiness. In the film it’s Coney Island, but really it’s a sense of home. The characters are lost through the rest of their journey in New York, often literally as much as metaphorically. There are small moments where you remember that these are kids, despite all the fight scenes and big talk, when they have trouble reading the map and get scared.

Darnielle uses that fear to make the characters his own. “Rise if you’re sleeping, stay awake” became a tagline for the All Eternals Deck tour, and the motto is easy to apply to Darnielle’s world. They see these Warriors who run through the night as their people, isolated and in need of consideration. The harmony and vocals may be unique for the Mountain Goats, but the sense that “the heat’s about to break” sure isn’t.

107. Fall of the Star High School Running Back

Alex Russell All Hail West Texas , , , , , , ,

John Darnielle laments the reality of drug laws in “Fall of the Star High School Running Back.”

Track: “Fall of the Star High School Running Back”
Album: All Hail West Texas (2002)

All Hail West Texas is about specific people. They aren’t all real, but they are specific in the sense that they have names and personalities. John Darnielle’s early work features characters that speak in first person and often talk about the same themes (love, desperation, longing, and the like) so the first album with a full cast is a big departure.

Jenny from “Jenny” shows up in other songs and Jeff and Cyrus from “The Best Ever Death Metal Band in Denton” live again every time the band closes a live show. William Staniforth Donahue is a different sort of character, but still specific. His name changes in live shows, but he’s always the same person. He always plays football well and he always goes to jail. He lives a short life in the two-minute song.

John Darnielle says the song is about mandatory sentencing. The character is based on a person who did time in a Dutch prison for drug possession, ostensibly with the intent to distribute. The real guy was another young person who probably didn’t fit the intent of a mandatory 10+ year sentence for peddling hard drugs.

He refers to the song as “a protest song” which makes sense. It’s also the story of a troubled person who chooses temporary happiness at the risk of all else. That’s a very familiar idea. More of Donahue’s character comes out in the line “people you used to look down on” about the drug dealers he hangs with after he loses his football career. He changes his perspective about the lower social strata, which would be the start of something if it weren’t connected with the end of everything else.