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The Mountain Goats

The Mountain Goats Album: “Get Lonely [Bonus Tracks]”

The Mountain Goats Album: “Get Lonely [Bonus Tracks]”
Album Information :
Title: Get Lonely [Bonus Tracks]
Release Date:2006-12-11
Type:Unknown
Genre:
Label:WEA
Explicit Lyrics:Yes
UPC:4943674068296
Track Listing :
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Review - :
Coming off of the two strongest, most fully realized -- and most harrowing -- albums of his career, in particular {^The Sunset Tree}, which helped bring him to the attention of a larger audience, {$John Darnielle} (who's somewhat better known as {$the Mountain Goats}) took something of a career digression with a record that, while retaining the production clarity and expanded instrumental palette of his {@4AD} output to date, marked a clear withdrawal, if not in quality, certainly in scope, from its phenomenal predecessors. Thematically at least, {^Get Lonely} is the sparest, bleakest record in {$the Mountain Goats}' discography. Much was made of the unprecedentedly autobiographical content of {^The Sunset Tree} and {^We Shall All Be Healed}, and it is true that they conveyed a sustained emotional potency that was largely new to {$Darnielle}'s repertory, but both contained so many lyrical loose ends, disjointed perspectives, and ambiguous imagery that it was difficult if not impossible to glean any consistent context in them, let alone a coherent through-line. {^Get Lonely}, on the other hand, is practically monotonous in its lyrical focus. Every one of its songs features a first-person narrator in a state of desolation, near-desperation, solitude (always), and grappling, more or less explicitly, with the psychic effects of recent loss: extreme listlessness, emotional paralysis, intermittent attempts at deterministic redirection; nightmarish delirium. In most of them, almost nothing happens; the plot of {&"Wild Sage"} consists of its protagonist leaving the house, walking outside, falling down by the side of the highway, and lying there. Sometimes he can't even leave the house. It's a break-up album -- an almost uncharacteristically straightforward conceit for {$Darnielle} -- the chronicle of a person dealing (or attempting to deal, at least on his best days) with loneliness, grief, and the pangs of memory. Whether or not it's a literal chronicle of a period in {$Darnielle}'s life (he had, at the time of its release, been married for many years) is irrelevant; forgiving a slight turn for the phantasmagoric towards the end of the album (before its ultimate, resigned submersion into the Atlantic in the graceful, serene {&"In Corolla,"}). It's hard to deny the fundamental, emotional truth contained in these songs, especially as it's conveyed in his uninflected, almost painfully restrained delivery. It's not all unrelentingly somber -- {&"Half Dead"} and {&"Woke Up New"} strive for a sort of resolute pragmatism, with musical backing that could almost be described as sprightly, though their plain and plaintive lyrics ultimately belie their hummable ditty-like choruses. And the churning, jazzy percussion of {&"New Monster Avenue"} and {\brass band} swagger of {&"If You See Light"} provide welcome instrumental relief that befits their fanciful, imagistic lyrical tone. But these are almost necessary respites, since at its darkest and starkest, which is much of the time -- particularly on the central quartet of the shell-shocked title track, the spirit-haunted {&"Maybe Sprout Wings,"} the hallucinatory {&"Moon Over Goldsboro,"} and the agitated {&"In the Hidden Places,"} {^Get Lonely} is nothing short of devastating. These songs may be primarily built around uncomplicated acoustic guitar parts (with judicious instrumental embellishments), but they're a far cry from the rudimentary {\lo-fi} zeal and nervous energy of {$Darnielle}'s early years -- he's become significantly more sophisticated since then, as a composer, a writer, and an observer of the human condition, and this is in many ways his most mature work to date. [The CD was also released with bonus tracks.] ~ K. Ross Hoffman, All Music Guide
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