One of the most powerful moments on Hop Along‘s 2012 album Get Disowned is one of its quietest.
On the second side of a record filled with emotional, cathartic ragers and explosive youth anthems sits the melancholic, haunting ballad called “Trouble Found Me.” Like much of the album, the song abstractly relates the story of a character with schizophrenia – a family friend of frontwoman Frances Quinlan – and follows as he struggles through life, is pushed through hospitals and is generally failed by the healthcare system. “Trouble Found Me” is a point of aching realization of all this: as much for Quinlan the third-person narrator as it is for the character and even the listener who might not know about the story line at play.
This lyric in particular drives it home:
Once I thought being lost was only a part of being young / But the old man in the bed next to your cot was screaming louder than anyone / Saying mama mama mama, little white mice run across my bed while the nurses play poker outside / Oh my God, how is the other guy? I can’t believe someday I’m gonna die.
Quinlan sings that last line – “I can’t believe someday I’m gonna die” – in a whisper, matter-of-factly acknowledging our collective mortality not with fear but rather a resigned uncertainty. In the distance, a slide guitar moans. Is there a greater significance to this aimless trip we’re all on? My exit could be a long ways off, or it could be this week, and it leads me to pretty much the same place in either case. All those questions that keep you up at night, you know?
Hop Along’s excellent sophomore album Painted Shut is out today on Saddle Creek Records, and the band celebrates this Saturday night with a headlining show at Union Transfer. As the week unfolds, you’ll doubtless read a lot out there in the musical-journalistic space about what a bold record it is, how it’s unflinching and energetic, how it unpacks heavy ideas with equally heavy volume and energy. All of those points are absolutely accurate, and we’ll be weighing in on them all week long as we explore the album in Unlocked, The Key’s recurring spotlight on new and significant releases from Philadelphia-area artists.
But for me, again, the most powerful moment on Painted Shut might just be its quietest. Continue reading →