When I was sixteen years old I discovered the music of Nick Drake. Nick sounded suicidal (a sound that was, alas, eventually borne out in his personal life) even when he was at his most upbeat, and his albums were the perfect soundtrack to the kind of hypercharged, hormonally-driven angst I was experiencing in the wake of my first serious adolescent love and the dashed hopes of said love. It didn’t matter that I lacked the courage to actually speak to the object of my affection. It was enough to bask in the utter, inconsolable pain of it all. She didn’t even know I existed (an almost inevitable consequence when you don’t speak, but I preferred to take a more tragic view), and Nick’s songs provided comfort and solace during those dire days. Since then I have been drawn to a succession of musical mopesters. I listen, feel the pain all over again, tell my wife that it hardly seems worth going on, and she tells me to buck up and mow the lawn.
Elliott Smith was a favorite, and lived up (died up?) to his image by plunging a steak knife into his chest a few years ago, the ultimate mopester death. These days, nobody carries on the tradition better than Mark Kozelek, head whiner for Red House Painters and Sun Kil Moon. But there are numerous contenders in the Quiet is the New Loud Mopester Movement: Iron and Wine, Kings of Convenience, Sondre Lerche, Belle and Sebastian, Low, Badly Drawn Boy, Turin Brakes, Bonnie Prince Billy, South San Gabriel. They’re all worthwhile, but these four guys do it better than anybody but Kozelek, in my opinion, and give me hope that despair still hurts so good.
Archer Prewitt – Wilderness (2005)
Prewitt is the guitarist and sometime vocalist for Chicago indie rockers The Sea and Cake, but his solo albums are much more subdued and depressive affairs. Wilderness is my favorite out of several good ones, and features Prewitt’s downcast, lovely melodies set off against sweeping, romantic strings. The overall effect is similar to Nick Drake’s Bryter Later – beautifully melancholic music, suitable for the bedroom, or for when there’s nobody in the bedroom but you. Don’t even think of reading more into that. I’m talking loneliness. Loneliness.
Denison Witmer – Philadelphia Songs (2002)
It’s a Coming of Age album. It’s a Rite of Passage album. It’s both. Witmer has yet to make the masterpiece I believe he has in him, but this one comes the closest because of its profound sense of place. I don’t know Philadelphia all that well, but I can smell the cheesesteak dives on Passyunk, and catch fleeting glimpses of the ghosts of Thomas Jefferson and Ben Franklin when I listen to this album. More importantly, I can remember back to what it was like to be 23, 24 years old, with a head full of plans and a heart full of dreams, and not knowing how to make them come true other than to get the hell out of Dodge. Witmer captures that moment perfectly in these songs, which time and again hone in on the essence of sadness, and loneliness, and the restless desire to move on.
Jose Gonzalez – Veneer (2005)
One of my favorite albums from last year. Jose is the Swedish born and raised son of Argentinian parents. Never mind. He still sounds like Nick Drake. He has Nick’s sweet fingerpicking and alternate tunings down pat, and there’s the same thread of melancholic wistfulness traced through every song. His new EP Stay in the Shade is just as rewarding, and accomplishes the not inconsiderable feat of making a Kylie Minogue cover sound good.
Gus Black – Autumn Days (2006)
Hushed vocals, gentle acoustic guitars, and songs of good love gone bad. Yes, it’s formulaic, but Black makes it work because he sounds like Matt Beckler. Who is Matt Beckler? A guy in my church who does hushed vocals and gentle acoustic guitars as background music for various WB and MTV shows featuring nubile women and their suntanned, buff fratboy lovers. Hey, a guy’s gotta make a living. But I really like Matt Beckler’s music, and I really like Gus Black’s music, too. There are lush string arrangements here, which Matt Beckler does not do. But it’s all lovely, sad, and hopeless, mopery taken to dizzying new lows.
So, where does shoe-gazing indie-rock fit in to this spectrum?
And I'm not sure I can count Denison Witmer as a mopester given his recent prank (with Rosie Thomas) on Sufjan Stevens and his song/bonus feature on the Invisible Children Rough Cut DVD.
(writing this while Sun Kil Moon's Ghosts of the Great Highway was playing)
once again...great minds do think alike...you've name-dropped many of my (and jamie's) faves. i need to break out the sun kil moon album soon and would like recommendations on any red house painters worth purchasing (used kids always has a ton them). there was a time when we has all three drake albums on one disc and would play the tracks in random order constantly. if you can, bring some of witmer's stuff on sunday. i'll be downstairs but will make a point to touch base.
Bryan, the shoegazers definitely fit in as mopesters. I guess I was focusing more on the acoustic mopesters. I usually think of the shoegazers as constituting their own room in the mopester wing of the musical mansion. Certainly, bands like Ride, Slowdive, My Bloody Valentine, etc. had melancholic overtones in their music. But it's a big wing. Really, when you get right down it, probably about half the popular music made is mopey/sad to some degree.
I love, love, love "Ghosts of the Great Highway." IMO, it's the best album that's been released in the last five years. Yes, better than Sufjan. :-)
Teddy, I love all of the Red House Painters albums. Seriously, they're all great. If you want a (long, 70+ minute) sample, I'd recommend that you check out "Songs for a Blue Guitar." It's got several Kozelek acoustic mopers, some electric guitar freakouts, and several characteristically offbeat covers, including The Cars ("All Mixed Up"), Yes ("Long Distance Runaround:), and Paul McCartney and Wings ("Silly Love Songs"). The latter, in particular, is about 1000 times better than the original.
And yes, I'll bring some Denison Witmer with me on Sunday.
BTW, there are four Nick Drake albums. The one you may not have heard is called "Time of No Reply," and consists of outtakes that were released after his death. It's good, but as you might expect, not nearly as great as the three albums released during his lifetime.
I LOVE Elliot Smith. I am so sad i never got to see him live. I was suppose to go to a small show of his in Nashville before I lived there, but under pressure from friends to not go- didn't. I will totally always regret that. I think he was a largely undiscovered treasure.
i've heard "time of no reply". i borrowed it from the library several times. it only qualifies as a semi-album to me as it was released posthumously(sp?). i'm sorta anal that way with albums...wary of best ofs, b-sides, outtakes, etc.
elliot smith is a fav of mine by the way. X-O is stupendous. wish he would have held on.
Hey Mopester, take 2 Al Green's and call me in the morning if you don't feel a lot better.
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