No one could ever say that John Darnielle is unoriginal. His band the Mountain Goats, of which he has been the sole constant member and primary songwriter, has always had a theatrical flair, with his rich, detailed storytelling. Albums like “All Hail West Texas” and “The Sunset Tree” combine simple folk instrumentation with unflinching lyrics that toe the line between raw autobiography and whimsical storytelling.
The group’s latest album, “Through This Fire Across from Peter Balkan,” comes at a turning point in their career. Longtime bassist Peter Hughes has left the group, and in his place are alt-rock session player stalwart Cameron Ralston and former Guns N’ Roses and The Replacements bassist Tommy Stinson.
One notable guest spot is Lin-Manuel Miranda, the mastermind behind the musical “Hamilton,” who contributes backing vocals to several songs on the album. Miranda’s presence and influence are obvious throughout the album, from its overwrought use of strings to its cheesy lyrical bombast. However, it’s ultimately Darnielle’s distinctive voice that shines through, creating a compelling — if convoluted — concept album that has roots in the classics of its genre with a modern twist.
The album begins with “Overture,” a stirring string instrumental fitting for the opening scene of a fantasy or sci-fi movie. “Fishing Boat” tells the story of a teenager trying to find stability and independence at sea. It features all the hallmarks of a great Mountain Goats song: a quirky folk-pop melody and Darnielle’s sensitive yet epic storytelling that make the narrator’s journey feel relatable in spite of its specifics.
“Cold at Night” builds upon the previous themes of water, with its simple, driving bassline that grounds a surreal tale with parallel narratives of operating a boat and coming to terms with death through drowning.
Later in the album, cracks start showing. “Dawn of Revelation” feels more like a motivational speech set to music than an actual song. Its epic rock instrumentation serves as an interesting contrast to the album’s more mellow songs, but its uninspired and cliche lyrics dampen any interest in the narrative.
“Your Bandage” is a gentle ballad with beautiful, heartfelt lyrics, but the pop sheen and incessant snare throughout are distracting and unnecessary. “The Lady from Shanghai 2” is another track with rich details, but it’s bogged down by a repetitive, soft-rock instrumental.
“Peru” is one of the strongest tracks on the album. Its melodic piano line and blend of a tender love song and adventure narrative showcase the best of Darnielle’s signature storytelling. “Through This Fire” is reminiscent of singer-songwriter Warren Zevon, with wry, witty lyrics like “The ocean is faithful and the devil’s a liar.” “Rocks in My Pockets” is another lyrical gem, with Darnielle singing, “Some people name their cars or their guitars, some things are too fragile to name.”
“Armies of the Lord” expands upon the album’s theatrical stylings with stronger results. The more subtle strings and Darnielle’s blend of ordinary life and poetry convey hope amidst despair, while other songs dipped too heavily into melodrama to truly feel convincing.
Closing track “Broken to Begin With” is an amalgamation of the album’s strongest and weakest points. It features an out-of-place saxophone and lyrics that tell more than show, like “Me and Peter Balkan and you, friend / Until the dream ran out of oxygen.” The song is grounded by a simple indie rock melody that should allow these eccentricities to shine. Instead, they clash with each other.
“Through This Fire Across from Peter Balkan” proves to be a mixed bag in one of the finest discographies in indie rock. For every song that shines as a showcase of Darnielle’s better instincts, there are songs that have potential but are bogged down by small details. Lyrics were always the band’s strength, and it’s disappointing that on this album they feel more muted or confused and are overshadowed by showy strings and ill-fitted production choices.
“Through This Fire Across from Peter Balkan” is good, but it aches with the potential of what it could have been. This doesn’t mean, though, that the Mountain Goats don’t have another great album left in them.