One thing is clear about the Mountain Goats: John Darnielle's voice might bother some people, but it certainly doesn't bother John Darnielle. The singer is unabashed, belting out line after line in his reedy yowl. His voice may not have mellowed on Transcendental Youth, but the growing presence of drummer Jon Wurster and bassist Peter Hughes is there to knock the edge off a bit. The result is a great, well-rounded record.

The Mountain Goats work best as a full band. Wurster's drumming adds depth on the slower tracks, and uptempo songs sound not only bright but triumphant. The chorus of “Mercy for the Diaz Brothers,” for example, has the feel of a battle cry. Hughes shines here as well—the bouncy, Violent Femmes-like bassline he adds on “Cry for Judas” is a high point.

High points are of course relative on Mountain Goats records, given the subject matter of Darnielle's lyrics. His narrators are constantly sleeping on floors and hiding in corners; there's even a gladiator with limbs missing here. Still, he manages to find something ennobling even among the worst circumstances, and on Transcendental Youth, his songwriting is as strong as ever.