By Patrick Greenwell
In the music world, The Mountain Goats are often an ignored gem. They have been around for almost 20 years, and have seen a number of lineup changes since they began recording in 1991. Perhaps the only real constant is John Darnielle, the vocalist and main creative force behind the band. Darnielle has been producing truly stellar albums on a yearly basis since 2002, with “Tallahassee” and “The Sunset Tree” as perhaps the most memorable releases.
On Oct. 6, Darnielle, with Jon Wurster and Peter Hughes, is releasing “The Life of the World to Come.” As in the past, this is a concept album. The 12 tracks detail the various lessons the Bible has taught Darnielle. Each of the tracks, except the last song, is named for a specific verse related to its content. However, most of the correlations between the verses and the songs are not immediately clear, with only a few tracks directly referencing a passage. “Psalm 40:2” is one of the few songs that directly quotes its respective passage, though it is only in the refrain, and does not appear anywhere else in the song.
The Mountain Goats are perhaps best known for Darnielle’s lyrical content. The vast majority of their songs tell some sort of story, either a short isolated one or a piece of a large narrative. “The Life of the World to Come” is of a shorter, episodic nature, with none of the songs being explicitly related. One narrator is dealing with a broken-down car in the middle of a Missouri highway, while another is walking around his old house. The biblical inspiration is the only real connection, as each story serves as a sort of musical parable, with small scenes illustrating a lesson learned. As one might expect from the concept, the lyrics are rather religious in nature. Jesus, while never explicitly addressed, is referenced, and the concept of the Spirit is returned to frequently.
Musically, The Mountain Goats shy away from intricate instrumentation. Most songs feature only Darnielle playing acoustic guitar, Hughes on Bass and Wurster on drums. Owen Pallett joins the band on the few electric tracks interspersed throughout the album. The piano is also featured rather prominently in several songs. All of these instruments are played in a simple manner, with the majority of songs consisting of only a few chords or notes played very slowly, softly and deliberately. Tracks like “Psalm 40:2” and “Genesis 3:23” speed up this formula and introduce more elaborate performances, the former being a rare electric track and the latter a much peppier piano-driven piece. Wurster’s drums remain consistently impressive throughout the album, regardless of the tone of the track.
An album with rather prominent religious overtones is bound to disenchant as many people as it intrigues, so it is important to note that there is no kind of agenda here. Certainly songs like “Romans 10:9” and “Isaiah 45:23” are undeniably spiritual songs, loaded with references to prayer and faith. However, Darnielle is not trying to convert anyone, or even make large grand statements about religion as a whole. Like his previous albums, this is a highly personal work. The songs are about faith as it is manifested for him; the listener can take what he or she wants to from them.
Anyone who enjoys the folk rock genre will definitely enjoy this album. It’s well-composed, well-written and, while it may lack fast-paced songs, is yet another masterful entry in The Mountain Goats’ library. Those looking for a profound and deeply emotional listening experience will be particularly pleased with this release.
