Music

Mark Mulcahy: Dear Mark J. Mulcahy, I Love You

Freewheeling, insightful and damn catchy, Dear Mark J. Mulcahy, I Love You more than conveys why Mulcahy is so revered by his songwriting peers.


Mark Mulcahy

Dear Mark J. Mulcahy, I Love You

Label: Fire
US Release date: 2013-06-18
UK Release date: 2013-06-17
Artist website
Amazon
iTunes

Cult songwriters don’t come more revered and obscure than Mark Mulcahy. His name isn’t a household one, unless your house is the type where names like Nick Hornby, Michael Stipe, Matt Berninger, Black Francis and Thom Yorke are regularly bandied about, for all of those artists have been outspoken in their praise of Mulcahy. With Dear Mark J. Mulcahy, I Love You, the American troubadour’s fourth solo LP and first since 2005, it’s easy to see (or hear, rather) why Mulcahy is so lauded by his better known peers.

The 11-track record is as unencumbered a songwriter’s album as they come. Freewheeling thematically, it has that ramshackle feel of being recorded in a single run-through. Free of any conceit but having no shortage of charisma, the songs have a fluid flow about them, as though they’re rolling off Mulcahy’s tongue. At the same time though, the songs are crafted so tightly in both their melodic and lyrical immediacy as to be a testament to Mulcahy’s acumen as a composer.

The album fits into the alt. country realm with a catchy, pop filter, the quavering twang in Mulcahy’s voice having a Ryan Adams or Paul Westerberg flavor to it. Rollicking acoustic and electric guitar strumming dominate the work, with quirky instruments coloring the foundation, giving layers to the piece that reveal themselves on repeated listens. Short as the songs are--no cut hits the four-minute mark--they get right to the good stuff without wasting time with needless flourishes. Beyond the instrumentation, though, the true star is Mulcahy’s words: his are lyrics observant and droll, making the song’s they feature in character-driven vignettes. His tales are rife with saturnine biblical musings (the dig at Jesus’ impractical altruism in “I Taketh Away” and the swipe at Bible devotion in “He’s a Magnet”), surrealistic imagery (“She could get milk from a crowbar” in “Everybody Hustles Leo”), Aesop-like anthropomorphism (zoo animals’ prison break in “Let the Fireflies Fly Away”) and magical romanticism (“The Rabbit”). Throughout it all, his insight into character personalities is precise, and as the narrator, he is alternately sympathetic and snidely mocking in Dylanesque fashion.

While lead track “I Taketh Away” establishes the Mulcahy aesthetic with its jangly melody and sing-along refrain of “Set your own speed, man/Drive like you’ll vanish/Sometimes you can’t get around/And that’s when you smash, smash, smash”, it is the barroom shake of “Everybody Hustles Leo” where things truly take flight. With the handclapping percussion and the Lou Reed-type tale of cocaine dealing, the tune just swaggers, conjuring the image of Mulcahy and his band playing on a roadhouse’s makeshift stage. From there, the more staid “She Makes the World Turn Backwards” comes in with world-weary acoustics augmented with a dirty southwestern electric guitar tone and call-and-response vocals: “Where does it hurt?/Everywhere!/Can you stand up?/I don’t care!/Are you worried, worried?/Yes!”. Later, in “He’s a Magnet”, things get instrumentally odd as a chugging guitar rhythm duels with airy flute notes hearkening to European folk traditions.

The record’s centerpiece is “Bailing Out on Everything Again”. Toy shop beats coupled with a melody and existential sentiment seemingly borrowed from the Smiths, the cut is striking in its pensive vulnerability. So thoroughly melancholic and soaked in solitude, the recurring line of “I’ve fallen in love/With things I hate” defines it as a sad mantra. With delicate harmonized vocals doo-dooing behind Mulcahy’s voice, the song creates an interesting dichotomy, juxtaposing an old man’s reflections with a melody childlike in its simplicity. Wrapping it all up is the scathing “Where’s the Indifference Now?”, wherein Mulcahy levels his condemnations at the current state of carrion-supping, media-saturated culture. Via the scenario of a suicide, Mulcahy captures the surrounding populace’s addiction to knowing the details of such a death while criticizing their lack of insight toward the subject’s despair. When the guy was alive, you didn’t detect or didn’t care about his plight, the song says; now that he’s offed himself, your curiosity makes you feel you deserve to know every sordid facet of his last moments. It’s a harrowing indictment of modern detachment and entitled voyeurism (“We’ve got to dig, we’ve got to pry/…The devil is in the details”), the song building on acoustic strumming and eerily-floating keyboard notes toward an angry denouement. An escalating tension snaps in the form of a raging guitar solo and violin screeching as the paparazzi picks the grief from the deceased’s loved ones, Mulcahy singing--then yelling--over and over again, “There’s so much more to know/There’s so much more to know”. It’s an odd choice for a closer, as it leaves the listener with a bitter sensation in the ear. In this sense, the song exemplifies one of the few missteps of the record, that being that it feels like a collection of songs, rather than a proper album unified with true cohesion.

All in all, Dear Mark J. Mulcahy, I Love You more than conveys why Mulcahy is so beloved by his colleagues. By the same token, it’s confounding as to why, with songs of such strength, he is not a far more known artist in his own right. This album alone indicates that if any underground songwriter deserves a bigger audience and more mainstream recognition, it is Mark Mulcahy.

7

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

Keep reading... Show less
9
TV

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

Keep reading... Show less

The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

Keep reading... Show less
9

If space is time—and space is literally time in the comics form—the world of the novel is a temporal cage. Manuele Fior pushes at the formal qualities of that cage to tell his story.

Manuele Fior's 5,000 Km Per Second was originally published in 2009 and, after winning the Angouléme and Lucca comics festivals awards in 2010 and 2011, was translated and published in English for the first time in 2016. As suggested by its title, the graphic novel explores the effects of distance across continents and decades. Its love triangle begins when the teenaged Piero and his best friend Nicola ogle Lucia as she moves into an apartment across the street and concludes 20 estranged years later on that same street. The intervening years include multiple heartbreaks and the one second phone delay Lucia in Norway and Piero in Egypt experience as they speak while 5,000 kilometers apart.

Keep reading... Show less
7

Featuring a shining collaboration with Terry Riley, the Del Sol String Quartet have produced an excellent new music recording during their 25 years as an ensemble.

Dark Queen Mantra, both the composition and the album itself, represent a collaboration between the Del Sol String Quartet and legendary composer Terry Riley. Now in their 25th year, Del Sol have consistently championed modern music through their extensive recordings (11 to date), community and educational outreach efforts, and performances stretching from concert halls and the Library of Congress to San Francisco dance clubs. Riley, a defining figure of minimalist music, has continually infused his compositions with elements of jazz and traditional Indian elements such as raga melodies and rhythms. Featuring two contributions from Riley, as well as one from former Riley collaborator Stefano Scodanibbio, Dark Queen Mantra continues Del Sol's objective of exploring new avenues for the string quartet format.

Keep reading... Show less
9
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image