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{"id":354,"date":"2011-06-28T19:36:00","date_gmt":"2011-06-28T19:36:00","guid":{"rendered":"http:\/\/www.patheos.com\/blogs\/evetushnet\/2011\/06\/354\/"},"modified":"2011-06-28T19:36:00","modified_gmt":"2011-06-28T19:36:00","slug":"354","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/evetushnet\/2011\/06\/354.html","title":{"rendered":""},"content":{"rendered":"\n<\/head>

ARE ALL THOSE YOUR<\/span> GUITARS?<\/span> Mountain Goats epic posting, part three in a series of I do what I want! (No, seriously, I\u2019ll try to finish up tonight.)<\/p>\n

The Sunset Tree<\/span>: I am so easy for those songs where some indie-rock guitar singer-songwriter dresses up his voice like he\u2019s some kind of sexy gumshoe. (\u201cDilaudid,\u201d \u201cThe Lion\u2019s Teeth.\u201d) Also, \u201cUp the Wolves\u201d made me choke up this time. This is a really heartfelt album, trying hard to forgive a lot of things. I also really like how place-oriented all of these albums are; this one is Southern California, insistently, some sunny noir place behind the Orange Curtain. \u2026I also liked \u201cLove Love Love\u201d better this time around. Already liked the opening verse<\/a> a lot\u2013this guy is notably good at openings.<\/p>\n

Get Lonely<\/span>: Ehhh, this is the first one so far I haven\u2019t really loved. It\u2019s very breathy and just\u2026 there.<\/p>\n

Heretic Pride<\/span>: It took all the way to track four (\u201cAutoclave\u201d) before I liked something, and there it was mostly because I am impressed by John Darnielle\u2019s commitment to this house-as-home metaphor across many albums. <\/p>\n

\u201cIn the Craters of the Moon\u201d and \u201cLovecraft in Brooklyn\u201d are more tough-guy-bleeding songs, though, so I liked them. \u201cWoke up afraid of my own shadow\u2013like, genuinely afraid!\u201d That\u2019s actually a pretty great updating, the Valley Girl slang combined with \u201cRats in the Walls\u201d-level urgency. I\u2019m trying to think of ways Lovecraft could actually illuminate this guy\u2019s lyrics and obsessions, and all I can come up with is the belief that (or struggle against the belief that) origins define outcomes, the past controls the future, the Old Ones will always come back to destroy us even when we think they\u2019ve been sated and killed and forgiven. I don\u2019t actually think that\u2019s what this song is going for, though, so I\u2019d welcome other interpretations.<\/p>\n

Is a \u201cdragon spruce\u201d a real kind of tree? If so, I continue to love this insistence on naming the exact plants of each song\u2019s setting, e.g. \u201cLouisiana live oak.\u201d So far we\u2019re five albums in and home<\/span> is the unstoppable cry of each one: the contrast between Eden, our model, the memory which makes all insight a form of recognition, and the temporal places where we all lived out our unskilled childhoods. \u2026OK, so I guess it\u2019s obvious that I would really like this guy.<\/p>\n

And just in time to ratify my belief that unsettled and painful metaphors of home are one of the defining characteristics of this guy\u2019s lyrics, here\u2019s the line, \u201cIf I forget you, Israel, let me forget my right hand\u201d\u2013and cf. \u201cThis Year\u201d with \u201cThere will be feasting in Jerusalem this year,\u201d too. Also, with the Israel line, it\u2019s basically the chorus, which is always pop music\u2019s way of signaling what it considers its home: You return there after each verse, and see the chorus in a new way.<\/p>\n

OK, two albums left here.<\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"