1. Score 20 Years Of Merge Records The Covers Rar File 2016

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The Mountain Goats is an American, Durham, North Carolina-based band, led by American singer-songwriterJohn Darnielle. Darnielle began recording in 1991, and is known for his highly literate lyrics and (until 2002) his lo-fi recording style.^[1] The Mountain Goats' albums have featured a constantly changing line-up of musicians, with Darnielle the only constant; when performing live, the band commonly comprises only Darnielle backed by Peter Hughes on bass guitar and Jon Wurster playing drums.^[2]

Studio albums[edit]

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Cassette-only releases[edit]

EPs and singles[edit]

Collaborations and split releases[edit]

Compilation albums[edit]

Other appearances[edit]

Unreleased[edit]

Score 20 Years Of Merge Records The Covers Rar File 2016

References[edit]

1. ^Nickey, Jason (2008). 'The Mountain Goats: Biography'. Allmusic. Macrovision Corporation. Retrieved 2009-02-16.
2. ^'the Mountain Goats FAQ'. Themountaingoats.net. Retrieved 2009-02-16.
3. ^'The Mountain Goats Chart History'. Billboard. Retrieved March 7, 2019.
4. ^'The Mountain Goats Chart History: Independent Albums'. Billboard. Retrieved March 7, 2019.
5. ^Peaks in Scotland:
   • 'Goths': 'Official Scottish Albums Chart Top 100 - 2017 05 26'. Official Charts Company. Retrieved July 18, 2019.
   • 'In League with Dragons': 'Official Scottish Albums Chart Top 100 - 2019 05 03'. Official Charts Company. Retrieved July 18, 2019.
6. ^'Three Previously Unreleased Mountain Goats Songs'. Beats Per Minute. Retrieved 2017-07-24.
7. ^'Jack & Faye'. Themountaingoats.net. Retrieved 2017-07-24.

External links[edit]

• Various Artists

Merge continues its 20th anniversary festivities with a comp of non-label artists-- Bright Eyes, Shins, New Pornos-- covering songs from its catalog.

Merge Records doesn't look its age. Originally formed as an outlet for Superchunk material, the Durham, N.C.-based label has grown into an indie institution, but only gradually-- year by year, release by release. It never allied itself with a scene or a sound, so the mind doesn't automatically tether it to a specific place or time, the way Sub Pop, despite its strong roster this decade, will be most closely associated with Seattle in the late 1980s and early 90s. So it's hard to believe Merge is already 20 years old, an occasion the label is marking with a big birthday bash-- the five-day XX Merge fest in July-- and a subscription-only series of commemorative retrospectives and remixes. Perhaps the most intriguing party favor is Score! Twenty Years of Merge Records: The Covers, a choppy but oddly endearing compilation that enlists 20 non-Merge acts to cover Merge songs.

Score! doesn't resemble a traditional label sampler as much as one of those carefully curated compilations like this year's Dark Was the Night. Both releases benefit charities, both feature the National at their most subdued, and both serve as a useful state-of-indie report. But where Dark emphasized 'primarily folkie tunefulness, baroque lines in which the guitar is subservient to other instruments' (as Scott Plagenhoef wrote in his review), Score! allows and even encourages these artists to indulge every idiosyncrasy, no matter how potentially off-putting or digressive. The result is a weirder, less polite album, one that showcases a diversity of musical styles and seems much more representative of 2000s indie.

More representative, however, doesn't mean better. This comp's inclusive cross-section comes with a downside: If there's something for everyone, there's also something for everyone to skip over. Ted Leo and the Pharmacists' workmanlike cover of Robert Pollard's 'The Numbered Head' will likely get played often (at least those opening chords), as listeners move past the Hive Dwellers' discursive take on Superchunk's 'My Noise', which pares the song down to scattered drum hits, a meandering melodica, stair-stepping bass, and floating vocals. It's interesting to hear the Merge founders stretched out like taffy, but it's interesting only once. Conor Oberst's earnestness gets the better of him on Bright Eyes' version of the Magnetic Fields' 'Papa Was a Rodeo', which takes the song at face value and misses its meta-country-song ironies. Stephin Merritt demands a more complex approach with shades of feeling rather than primary colors, and unfortunately Jens Lekman and Tracey Thorn also learn that the hard way on 'Yeah! Oh, Yeah!' communicating only sincere resignation to the neglect of lust, mischief, and desperation.

Who'd have thought Merritt would prove so difficult to cover? And who'd have thought Chris Lopez would be so easy? He gets two testimonials here, one from the much-misses Rockateens and another from Tenement Halls. The New Pornographers streamline the Teens' 'Don't Destroy This Night' and reinforce that central snaky riff, while the Shins put floaties on the Halls' 'Plenty Is Never Enough', making its shuffle all the more buoyant. Similarly, East River Pipe gets a pair of songs: Okkervil River chop and screw 'All You Little Suckers' to little effect, but the Mountain Goats make the otherwise humdrum 'Drug Life' into a rotting-flesh acoustic lament, emphasizing the melody's similarities to Frankie Valli's 'Let's Hang On' as a darkly ironic gesture. Of course Superchunk get the most covers-- four in total, all with varying degrees of success. After the Hive Dwellers, Death Cab for Cutie find new kicks in 'Kicked In' thanks to a murkier, more emphatic sound that suits them well, and Ryan Adams preserves the drama of 'Like a Fool', although it sounds like he could be covering Echo & the Bunnymen here. Best is Les Savy Fav's no-frills re-creation of 'Precision Auto', which they rev into a frantic driving song.

Fortunately, there's little reverence here for two songs that might be considered sacred cows. The Apples in Stereo turn Neutral Milk Hotel's 'King of Carrot Flowers, Pt. 3' into a power-puff pop song, complete with yo-gabba melodies and adorable synths that inject a little light whimsy into Mangum's dark lyrics. And Times New Viking remake the Arcade Fire's 'Neighborhood #1 (Tunnels)' as a lo-fi dirge that's equal parts pisstake and affectionate reimagining. It's an ideal closer for a comp that, rather than simply showcasing the signees' songcraft, effectively settles Merge and its roster into the larger context of 20 years of indie rock, emphasizing the give-and-take between the label and the rest of the world. Just think what Merge will do when it reaches drinking age.