No description for this product could be found, but have a look over at Amazon for reviews and other information.
Buy we were dead before the.. at Amazon
Is your marriage in trouble? Learn about the causes of divorce so that you can save your marriage and avoid divorce.
{ 2 comments… read them below or add one }
I have to say that while I found the band’s last album, “Good News..” to be a slight disappointment, I didn’t think it sounded like a sellout at all. It was much more quirky than the typical records out there, and even some of the more trendy music out at the time. And while the band’s most accessible album to date, “Ship” is 100% a Modest Mouse record. Even with former Smiths guitarist Johnny Marr now in the fold, even when Shin James Mercer does background vocals. And while it’s also clean produced like the last one, that doesn’t mean it’s over-polished at all.
Of course, there’s people who will try and insult people who like this new stuff, and there’ll be a few mainstream sheep who decide it’s good because the masses told them. But let’s get realistic: Modest Mouse have been on a major label since 2000’s “The Moon & Antarctica.” (The album that introduced me to the band.) Them taking steps to commercial steps was inevitable from there. I have no problem with them becoming big. If you like them to stick with the Sonic Youth-type of seven-minute jam-out songs, just stick with “Long Drive” and “The Lonesome Crowded West.” This, the new record, does actually have an epic track in it, “Spitting Venom,” which starts out raw and acoustic in its first minute and a half but soon builds up from that. It’s kind of interesting, as is the rest of the album.
Besides, I can’t remember the pump organ and accordion being used so often in pop music as it is on here. There’s no real Isaac Brock freak-outs here, but he still is full of personality on here. Also, where the interludes seemed a bit annoying and unnecessary last time, the newly used instruments are now utilized into actual songs! It’s a more mature Modest Mouse album, and while consistent, it’s never boring. You get the more easily digestible stuff like the acoustic-based “Little Motel” and the ultra-catchy “Steaming Engenius” (next single perhaps?). They change the tempos and structures at times this time around, too, on the excellent “Parting of the Sensory.” Really, none of the 14 songs are bad at all.
If you can respect and accept that your little band is now shooting for the stars, I think you’ll find something to enjoy on the band’s fifth LP. It is not perhaps the most startling of the band’s albums, but they don’t need to do that with us anymore. I couldn’t have possibly asked for a better album from these guys.
It’s clear from reading the reviews here on Amazon just how many MM fans were drawn in from the apparent success of ‘Float On,’ which they judge to be the apex of an otherwise low-key career. Well, let me say one thing to these people: Modest Mouse have been around for more than ten years now and ‘Float On’ was nothing more than a catchy fluke tacked on to the end of a decade of legendary output.
The addition of 80’s quasi-post-punk Smith’s guitarist Johnny Marr to the band seemed to funnel the intensity and recklessness of early 80’s LPs onto MM’s established sound. Now they’ve learned to be careless with structure, less timid with their experiments and all around, for better or worse, depending on who you are, a lot more brash. I remember, in 1999, putting Lonesome Crowded West for the first listen into my car CD player and thinking, this is it, I’ve found the perfect band. Teeth Like God’s Shoeshine, the first track off that album, in comparison with the new album, reveals how little they’ve lost in ten years, how little they’ve changed some ways– still bitter, still pretty smart, mindblowing instrumentalists and intense vocals– and how much they’ve grown in other ways.
People as Places might be the best overall ‘anthem’ song of the album, sure to be a popular live track, as is Parting of the Sensory, an extended jam with interesting lyrics. Florida and Missed the Boat are yet another great pair of tracks– heavy, but still uniquely memorable. Steam Engenius, the opener and closer.. still more good tracks. Honestly, I took Dashboard and Fire it Up off my playlist.. I thought they were just cheesy and boring attempts to make radio singles.