The Mountain Goats

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Hi it's John Darnielle and this is the new Mountain Goats bio. Every time you make a record you have to have a new bio and it's a whole thing. Sometimes you have to have conversations about who'd be a good person to write the bio and other times one of the press people does it and you vet it and it goes through a whole process, but we are eliminating the middle man this time. My other job involves writing prose and I'm regarded as decent enough at it so let's fast foward through the prelims here.

Days is the something-somethingth album by the Mountain Goats. If that last phrase has a number in it then you will know it has been edited by bad people and you should stop reading now. If it says "something somethingth" then we are still together. Like at least two other tMG albums, specifically Goths and Beat the Champ, Days gets born one day when I have a funny idea. The idea in this case was writing a followup to Goths about the 90s and calling it Grunges. I made this joke on the popular recipes blog "Bluesky" and accompanied it with a brief ad-lib called "Contemplating Pearl Jam in the Carolina Dawn" that I recorded in my back yard.

But the thing about jokes is there's often something deeper underneath them, most theories of comedy attest to this, don't get me started. I'd written out a fake track listing for Grunges but then I wrote a poem about Layne Staley in the underworld getting rescued by Orpheus and I started thinking about the past, a popular theme among writers for many years now, and then I got both sad and smitten with wonder by how the past is a place upon which you both can & can't enact a sort of renovation: can, by changing perspectives; can't, because you can't actually move any parts around or change anything.

You think about this stuff as you get older, if you're lucky enough to be getting older.

We recorded the album at Sear Sound in Manhattan, still managed by the legendary Roberta Findlay, with whom I was fortunate enough to have a talk on the phone during the session; Rob Jost played bass on it; he plays in the pit on Death Becomes Her; he also plays French horn here. The group backing vocals are by Catherine Russsell, Jamie Leonhart, and Carolyn Leonhart; the layered backing vocals on "Hidden Majesty of Later Venom Albums" are by Janis Siegal of the Manhattan Transfer, who was tracking on another floor in the same building while we were at Sear. Giant honor for me to have Janis, I am a huge Manhattan Transfer fan. I called my old friend Matt Nathanson to add vocals to "Candlebox." He knocked it straight out of the park. Mikaela Davis added harp to "Going to Fennario." You can read about all this in the credits.

Looking back on what I've written I see that "bio" isn't exactly what you'd call this, as it tells you very little about me, or about Jon Wurster, the best drummer in rock and if you think I'm exaggerating then bless your heart, or about Matt Douglas, who plays guitars and horns & writes horn arrangements and plays keys besides. I played piano and guitar but mainly I'm the singer. Other biographical details are honestly insignificant to my way of thinking, who really cares, but I get that my opinions about this stuff are a little out of step with the zeitgeist.

This is Days by the Mountain Goats.

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Accessible entrances, parking, restrooms, and seating options including a variety of wheelchair accessible locations and companion seating.
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Content Advisory & Age Appropriateness

DPAC offers a diverse selection of entertainment. Not all productions will appeal to or be appropriate for every guest or for all ages. Ticket buyers should take responsibility for making informed decisions regarding their purchases. We recommend visiting the official website of each show to learn more about the show you are coming to see at DPAC.
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8:00 PM- Performance Begins

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This event has not yet communicated to DPAC, their specific policy regarding photography and video recording using mobile phones.
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Special Effects

For many events at DPAC, the performances contain bright lights, flashing strobe lights and theatrical fog or haze.
DPAC does not control these lighting effects which are designed as part of the show and are used for dramatic effect.
Theatrical fog or haze, comprised of safety tested glycol, glycol/water mixtures, water, mineral oil, or dry ice, is used to make lighting effects more visible, and to create a specific sense of mood or atmosphere.
Some, but not all events provide DPAC with more specific advisories on these effects. When available, DPAC will post any added advisories below.
- This event has not provided DPAC with any specific advisory.

Standing at Concerts

Standing and Dancing at Concerts: DPAC is proud to welcome all types of concerts to our stage. Sometimes during the course of a concert performance, audience members will show their enthusiasm by standing and dancing, especially when encouraged by the performers to do so. Unless directed by the show, we do not ever enforce a must sit policy at concerts. For most concerts, this would not be acceptable to the performers on stage who often love it when the crowd is moved enough by the performance to stand. This is especially true for rock shows and for seats closest to the stage.

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Video Screens

Currently, this event has not approved using our video screens. Please feel free to check back closer to the event for updates. If approved, we will post notice here.

For many concert, comedy, and special events at DPAC, we offer added views of the stage with two big screens (size: 16’ x 9’) hung to the sides of the stage or above the stage. These big screens can add to the visual experience of our concert, comedy, and special events and give guests seated farther from the stage what we like to call “a tenth row view”. Approval to use these screens always rests with the visiting show and about half of all concert and comedy events do use these screens.

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