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THE MOUNTAIN GOATS is John Darnielle, whose songs reference dying relationships, travel, food, literature, mythology (biblical and otherwise), the radio, etc-but largely dying relationships. Über-prolific and über-lofi, John's ouvre contains hundreds of songs-usually just himself and an acoustic guitar, maybe some spare accompaniment-recorded almost exclusively to Sony Panasonic RX-FT500 boombox. In 2002 alone he has already released one full-length album, three compilations of rare material, three one-sided 12-inches, a 7-inch single, and another full-length with Franklin Bruno as the Extra Glenns. Tallahassee marks the Goats' first release on 4AD, with more musicians than have been on record with John in a long time, not to mention an actual producer. Mountain Goats albums tend to evolve lyrically rather than musically, despite John's clear pop sensibilities. But Tallahassee is different. Gone are Snr. Tapehiss and Mssr. Wheelgrind, replaced instead by Tony Doogan's straightforward, unintrusive production, and on some tracks joined by cohorts Peter Hughes (Diskothi-Q) and the aforementioned Franklin Bruno, as well as Michael Ivins of the Flaming Lips and half of the Delgados. Essentially these are all sidemen though; the focus is still Just John. But after the grating, comforting, and ultimately engaging ambience of the ol' boombox, the notable absence of distortion (save for one track recorded through a loudspeaker) somehow diminishes the emotional heft present on Mountain Goats classix. Of course, I did cry once during this album, but it was a particularly bad time; I break down at least half the times I listen to, say, Full Force Galesburg, even on the best days. The Extra Glenns' Martial Arts Weekend was also "professionally" recorded, though the sound still wasn't fully fleshed out. Tallahassee is the first 100 percent studio-recorded Mountain Goats album, picking up musically where Martial Arts Weekend left off. The album benefits from the addition of a full band to fill in the space around the stories, as it's John's lyrics (as well as his unrelenting earnestness) that have always kept his tunes compelling, no matter how many similarly recorded songs there are. No exception, this album is composed entirely of songs about the archetypical "Alpha Couple," an unnamed pair of alcoholics who inhabit one of many greater narratives that appear across John's songs (named so because most of the other songs about them include the word alpha in their titles, e.g., "Alpha Rats' Nest"). Since meeting over drinks in California, they've traced the fragile line between love and habit through numerous small towns across America in a tightening spiral, a futile effort to keep from destroying each other. John would rather have his characters drink themselves to death, though, preferring emotional to physical violence, and throughout the album it's unclear at times whether the couple is fighting or fucking. As the title suggests, it all comes to a head in a decrepit house in Tallahassee, FL. Things start out hopeful enough. Though Tallahassee is as comically pessimistic as usual, the songs insist on remaining optimistically upbeat. Affairs head downhill fairly quickly, however; those wacky Alphas just can't seem to lay off the alcohol, and whatever they're trying to escape soon catches back up with them. Hanging on to a love long gone, all they know for sure is that they're too scared shitless of themselves and their own lives to really do anything other than run, but they just can't get away from each other. Melodramatic? Maybe, but after a few listens, you'll stop pining for the boombox and get pretty wrapped up in it; if this is the first you've heard of the Goats, it's as good a place as any to start. John hasn't created an ever-growing discography so much as his own magical-realist universe, and Tallahassee is yet another shining glimpse into it. |
copyright © 2002, The College
Hill Independent
last updated 11 22 02
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