Soundbite: “Heretic Pride”
By Natalie Edwards
March 3, 2008 9:01 p.m.
The singer-songwriter behind the Mountain Goats, John Darnielle, makes albums that range from collections of fiery and witty solo acoustic ballads to more layered, acoustic odes to string instruments. All feature lo-fi production ““ many of his songs have been famously recorded on department store boom boxes ““ and Darnielle’s ever recognizably nasal vocals. The Mountain Goats prove again and again that to keep listeners on their feet, you don’t need much more than intelligent lyrics, unexpected chord changes and, above all, an enthusiasm for your songs that is completely unabashed.
Their latest album “Heretic Pride,” is one of those odes. Guitars, violins, cellos, basses and stand-up basses interweave like a celebratory acoustic tapestry, each instrument contributing interspersed riffs that give the album the feeling of intricate rock songs that would appease college kids fed a steady diet of indie music as well as, say, bluegrass aficionados. It is an album with songs that would feel at home both in a rock club and at an all-ages festival, with families of concertgoers eating husked corn and lazed out on blankets. “Heretic Pride” aims at no atmospheric quality other than that of shared enjoyment.
First song “Sax Rohmer #1″ gallops, each pluck of the guitar teetering off the steady drumbeat, giving the song a danceable rhythm. Double-time drumbeats and overlapping acoustic instruments at the chorus cinch the song’s burgeoning catchiness. Cascading punches of seascape-sounding electric guitar, introduced during the bridge, accent the song for the remaining minutes and cement the song. Darnielle’s vocals ““ admittedly overbearing at rare moments in prior albums ““ give the song an earnestness that balances the acoustic poppiness that pervades “Sax.”
Slower second song “San Bernardino” is a lyrical testament to another Mountain Goats staple: local flavor. This was clearest on 2002 release “All Hail West Texas,” another textured and frothy album that featured titles such as “The Best Ever Death Metal Band in Denton” and “Blues in Dallas,” as well as the song “Jenny,” an ode to riding on the back of his sweetheart’s Kawasaki bicycle in the sand dunes of New Mexico. References to geographical places and specific details ground and bolster the lyrical content. Physical settings reappear in the sixth song, “So Desperate,” the eighth-song highlight “Lovecraft in Brooklyn,” and the ninth song, “Tianchi Lake.”
“So Desperate” is composed entirely of small guitar strums alternating and occasionally overlapping with simple plucking. Understated but captivating note sequences bisect each verse. Darnielle’s voice is soulful, ranging from a whisper to a high, controlled croon. As always, lyrics about lovers’ “neutral meeting place ““ the Episcopalian Church Yard,” balance with the vaguer, poetic chorus of “I feel so desperate in your arms.” The careful lyrics are half the beauty of Mountain Goat’s albums.
It is easy to overlook the Mountain Goats, since Darnielle’s albums are less about innovation than discovering avenues to appreciate a homespun and earnest formula that is never formulaic and consistently deserves attention.
““ Natalie Edwards
E-mail Edwards at [email protected].
