The Extra Lens – Undercard (Music Review)

Undercard cover

The liner notes to Undercard cover each song with John Darnielle’s typically playful and pithy commentary. The discussion of “Cruiserweights” provides a context that I use to understand the entire album:

There are people out there who transfer footage of old fights from worn VHS to DVD, and through a couple of these people, I’ve managed to put together a small collection. Half of these fights, if I do not personally watch them, will never be remembered by anyone, anywhere, under any circumstances. There are tragic heroes, and then there are really tragic heroes, and then there are guys who, knowing that they’re never going to get rich or famous, will nevertheless consent to have most of the bones in their faces broken in front of an auditorium full of other guys who’ve paid to watch it happen.

The song makes good on this description, tenderly describing a boxer’s thoughts as he is beaten to a pulp. But almost every track on this album fits the theme described here, examining events that would be forgotten if they weren’t captured in song. From the literal (the staff in “Only Existing Footage” laboring over a movie that will never be finished) to the figurative (the immigrants of “Programmed Cell Death” furtively meeting as they watch their culture die off), from the mundane (multiple songs about affairs) to the fantastic (a family trying to forget the horror from the deep they uncover on a fishing trip), Undercard captures these quiet moments. If you doubt the value of snapshots such as these, the album closes with the narrator of “Dogs of Clinic 17”, dying of an unnamed medical experiment, reminding you “there’s a light in all of you who hear my song”.

This album itself may be one of those easily lost events. The Extra Lens released their only other album a decade ago, and that was under the name “Extra Glenns”. Undercard would receive more attention if Darnielle released it as a project of his usual band, The Mountain Goats, or if Franklin Bruno associated it with The Human Hearts. But the ephemeral nature of a side project makes these songs all the more poignant.

The songs themselves are as thoughtful and poetic as anything from The Mountain Goats. Bruno handles more complex musical arrangements than Darnielle would make on his own, but this is definitely a lo-fidelity album, more at home with the anti-folk style of The Mountain Goats than the lusher pop sounds of The Human Hearts. The result is something that feels more vital than most official Mountain Goats releases. If Undercard is both about and an example of personal, easily forgotten moments, it makes an excellent case for its own existence.

Grade: B+

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