MODEST MOUSE – WE WERE DEAD BEFORE THE SHIP EVEN SANK (2007)RATINGI have a confession. I loved “Good News For People Who Love Bad News” and when the damn good news came on the wire here in good old Blighty that one of our greatest Guitar sons (Johnny Marr) had joined Isaac Brock’s collective, my faith in the USA/UK ‘special relationship’ grew to unparalleled levels. As is my routine for every review I write, I listen to each new album in full 6 times in a week and then give as honest assessment (regardless of hype/trends) as is possible. The confession is, for the first three plays I didn’t “get” “We Were Dead…” at all. I thought it was all polish and no tunes, it was too long, and where the hell was Marr’s input? By play 4 and 5, great music was suddenly alerted to my inner receptors, subverting my mood with genuinely crafted instrumental melodies that lie under the most creative patchwork of styles. By play 6 I was hooked, and finally realized that this is one of THE albums of 2007. For all of Brock’s pessimistic lyrical trawling he still creates killer chorus’s, best highlighted by the stunning “Dashboard” which has all the hallmarks of great catchy mainstream Pop, with an indelible hook and slick Brass additions, and yet it still remains intrinsically a Modest Mouse song in its alternative outlook. Many artists have fallen badly in an effort to court a larger audience, some never recover, but Brock’s unrepentant musical expansion defiantly fulfills everyone’s expectation, and as crossover recordings go, there’s not much that’s better than this.At 62 minutes “We Were Dead…” is exhaustive, possibly un-edited in terms of quality control on a couple of occasions, but overall still contains some astonishing moments. The negatives come via the lumpen Disco/Franz Ferdinand Art Rock workouts (“Fly Trapped In A Jar”, “Education”), where Brock’s manic yelps are so over egged that he ends up sounding like the bad guy from the Police Academy movies, “Zed”. His voice is always better when he’s more restrained, or has the support of fellow musicians. The sing-along backing vocals to “We’ve Got Everything” further enforces this, making for a more measured co-existence of melodic chorus and discordant verse. The Shins’ James Mercer’s backing vocals on “Florida” perfectly fits with Brock’s errant howl. Marr’s contribution is at times necessarily anonymous, which makes perfect sense because, after all, he’s gate crashed the band, but when he does get the chance to air his wondrous powers the embellishments genuinely enhance the songs. Listen to the delicate descending solo as “Fire It Up” gently fades out, or the understated mastery in the clipped instrumental on “Little Motel” which drifts deliberately from harmonious tune, to fractured screech in a blink. “Missed The Boat” is as good an example of pastoral English Indie Pop you’re likely to hear this year (unless XTC’s Andy Partridge releases something), and the eight minute “Spitting Venom” which bristles with arrogant sequence changes brilliantly, from choppy acoustic lines to a thudding post punk groove, evolving into a military styled outro of seismic intensity. The last two songs portray how far the band have come, and what the album has endeavored to achieve. “People As Places As People” is as close to contemporary Pop (and yet still as vital) Brock has ever written, and “Invisible” is edgy, jagged and stylistically matches much of their back catalogue.After listening to this album every day for a week, you’ll realize Brock’s virtuosity lies in his illuminating effort to develop Modest Mouse’s sound beyond the constraints of his genre, allied with some of the best songs of 2007. Almost an incredible recording."Dashboard"
Augusts1 says
I adore this album! It's so damn good & catchy yet really hails back to much of their older albums.
When I heard that Marr was on board I thought for sure his influence was going to majorly change the sound of the band but I was looking forward to seeing what his contributions would do. I do have to admit that I thought the pairing was rather odd though. But it's amazing how seamlessly he fit in.
Lady Miss Ian says
Hi Jammy - thanks for the great review on this. I, too, was totally smitten by "Good News for People...". It was my summer album the year it came out. I was having qualms about this new one, but really like "Dashboard" when it comes up on the radio or wafting out of my stepkids rooms. I'll give it a fair listen.
Marigold says
Not a bit MM fan. But ejoyed the insight to your review process. It further deepens my respect for your reviews. Which I have really enjoyed thus far. Heck, I might even encourage my friend who has the cd to play it at work tomorrow. Thanks again!
kristiana says
Haha! I had to laugh when I read the bit about his "Zed" vocals, I had been wondering what it reminded me of! That style rubbed me the wrong way at first too, but then I got used to it and like it.
I had heard good about Modest Mouse for so long but didn't finally check them out till this past winter, and Good News was my first. What a good choice. I've been listening to it so much these past coupla months, even got my stepmom liking them. My man heard Bury Me With It first, and didn't think he liked them (due to the vocals, as you described), but one weekend get-away later we listened to that album on repeat the entire weekend and never got sick of it. I'll always associate this past Spring with MM!
I'm liking everything I hear off the new one so far.
Thanks for the review.
Jammy Jeff says
August - I agree totally. In my mind i was expecting Marr to have a big contribution because of his experience and obvious skill, but I'm pleased in a way that he hasn't had too much influence on the sound.
Deadman - How do you think he'll affect the band negatively ?
Lady Miss Ian - It really is a great album that crosses generations.
Jammy Jeff says
Marigold - Give it another go! It took me a few tries to 'get it'.
Kristiana - Glad someone agrees with me about the Zed vocals."I’ll always associate this past Spring with MM!"..is that Modest Mouse or My Man...or both ? Get the new album, you'll love it K!
doombilly says
Florida sounds a bit like A. Partridge too. I'm not a MM fan and had kind of hoped that Marr would take them sort of in a different direction. But I can see how that would be a bum trip to a lot of folks who loved the last CD. I really liked some of the effect he had on The the.
HelenMarie says
Hello again...
I realize this post/review is like decades old in mog time, but as I was checking out your mog page...my curiosity perked when I saw your review for one of my favorite 07 albums. I found mog because of these guys so I appreciate them even greater for that. : )
I couldn't agree with you more on this. I was hooked after a few listens myself and still give it a go on a regular basis. I love the attached Fire It Up, Spitting Venom and the softer tunes, as well as your descriptor of the "Zed" vocals...ha!
MODEST MOUSE – WE WERE DEAD BEFORE THE SHIP EVEN SANK (2007)RATING
I have a confession. I loved “Good News For People Who Love Bad News” and when the damn good news came on the wire here in good old Blighty that one of our greatest Guitar sons (Johnny Marr) had joined Isaac Brock’s collective, my faith in the USA/UK ‘special relationship’ grew to unparalleled levels. As is my routine for every review I write, I listen to each new album in full 6 times in a week and then give as honest assessment (regardless of hype/trends) as is possible. The confession is, for the first three plays I didn’t “get” “We Were Dead…” at all. I thought it was all polish and no tunes, it was too long, and where the hell was Marr’s input? By play 4 and 5, great music was suddenly alerted to my inner receptors, subverting my mood with genuinely crafted instrumental melodies that lie under the most creative patchwork of styles. By play 6 I was hooked, and finally realized that this is one of THE albums of 2007. For all of Brock’s pessimistic lyrical trawling he still creates killer chorus’s, best highlighted by the stunning “Dashboard” which has all the hallmarks of great catchy mainstream Pop, with an indelible hook and slick Brass additions, and yet it still remains intrinsically a Modest Mouse song in its alternative outlook. Many artists have fallen badly in an effort to court a larger audience, some never recover, but Brock’s unrepentant musical expansion defiantly fulfills everyone’s expectation, and as crossover recordings go, there’s not much that’s better than this.At 62 minutes “We Were Dead…” is exhaustive, possibly un-edited in terms of quality control on a couple of occasions, but overall still contains some astonishing moments. The negatives come via the lumpen Disco/Franz Ferdinand Art Rock workouts (“Fly Trapped In A Jar”, “Education”), where Brock’s manic yelps are so over egged that he ends up sounding like the bad guy from the Police Academy movies, “Zed”. His voice is always better when he’s more restrained, or has the support of fellow musicians. The sing-along backing vocals to “We’ve Got Everything” further enforces this, making for a more measured co-existence of melodic chorus and discordant verse. The Shins’ James Mercer’s backing vocals on “Florida” perfectly fits with Brock’s errant howl. Marr’s contribution is at times necessarily anonymous, which makes perfect sense because, after all, he’s gate crashed the band, but when he does get the chance to air his wondrous powers the embellishments genuinely enhance the songs. Listen to the delicate descending solo as “Fire It Up” gently fades out, or the understated mastery in the clipped instrumental on “Little Motel” which drifts deliberately from harmonious tune, to fractured screech in a blink. “Missed The Boat” is as good an example of pastoral English Indie Pop you’re likely to hear this year (unless XTC’s Andy Partridge releases something), and the eight minute “Spitting Venom” which bristles with arrogant sequence changes brilliantly, from choppy acoustic lines to a thudding post punk groove, evolving into a military styled outro of seismic intensity. The last two songs portray how far the band have come, and what the album has endeavored to achieve. “People As Places As People” is as close to contemporary Pop (and yet still as vital) Brock has ever written, and “Invisible” is edgy, jagged and stylistically matches much of their back catalogue.After listening to this album every day for a week, you’ll realize Brock’s virtuosity lies in his illuminating effort to develop Modest Mouse’s sound beyond the constraints of his genre, allied with some of the best songs of 2007. Almost an incredible recording."Dashboard"
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