Modest Mouse - We Were Dead Before the Ship Even Sank

Oftentimes I think the music world at large is getting into a rut. Thankfully, at this most recent time, along came Modest Mouse to show me that not everything is just the same old boring filler. They renewed my knowledge that music can be daring, original, and boundary-pushing.

A little-known band since 1996, Modest Mouse finally broke out big-time with their 2004 smash Good News for People Who Love Bad News. After that, critics everywhere were anticipating their next effort on the edge of their seats. But part of what made them get so excited by Good News was that it was quirky, off-beat, and deliciously indie. Modest Mouse was commendably ignoring the fact that they had been on a major label since 2000. Actually, I’m surprised that a major label stuck with them for as long as they did. Having your first album with them be a flop, and then taking three years to make another one, is usually a recipe for getting you unceremoniously dumped. I guess it was luck that they weren’t.

The record label’s patience (as well as that of the audience) paid off, however, since they matured into one of the tightest bands of the new century. They caught the attention of the Smiths’ Johnny Marr, who became a full-fledged member of the band for 2007’s We Were Dead Before the Ship Even Sank. Here the band straddles the line between mass-market sensation and quirky indie act. And amazingly, they do an astounding job. Record companies seem to have caught on that when they acquire an indie act like Modest Mouse (or the Decemberists), they shouldn’t clutch at them with dollar signs in their eyes. If they just leave well enough alone and let the bands keep their originality and artistry intact, the dollars will just come. After all, The Crane Wife was one of the most successful albums of the year. I imagine Epic is hoping We Were Dead will follow in its money-making footsteps.

Indeed, Modest Mouse’s off-kilter-ness is intact from the very first note, which is produced by an accordion, of all things (no longer uncool, thanks to Arcade Fire). The biggest stumbling block for me is Isaac Brock’s voice. It turned me off initially when I first heard Modest Mouse back in 2005. For certain songs, he seems to be going for an insane Cookie Monster growl, and it’s pretty distracting. I just had to give it time, though. “March Into the Sea” has Brock’s weirdness cranked to 11, and it’s actually a very off-putting way to kick off the album. But that just seems to be the Modest Mouse way. It took a few listens for this song to actually grow on me, as it did for the entire album. “Dashboard” follows as the catchiest and bounciest song Modest Mouse has ever done. This song had me nodding my head and singing along very quickly, the mark of a pop gem. “Parting of the Sensory” has a great apocalyptic and troublesome vibe to it, such that you really get into it. Brock’s lyrics remain inscrutable, being more like free-verse poetry in places. Johnny Marr shows his influence on “Missed the Boat,” which is nicely polished and melodic. In the face of the daring (and messy) originality of the rest of the album, some would say this track doesn’t fit in, but it’s actually one of the most accessible songs here, while still retaining the aforementioned originality.

“Fly Trapped In a Jar” falls off the tightrope into a sea of confusion, “Education” is a bit boring, and “Steam Engenious” doesn’t have a compelling melody. Other than that, though, the whole album successfully walks a fine line between originality and accessibility. It’s just catchy enough to draw you in, but just strange enough to make you stick with it. I think we can expect more acts like Modest Mouse finding mass appeal, since people seem to be expecting more and more from their music.

Prime Cuts:
Dashboard
Invisible
Missed the Boat
Parting of the Sensory

22 Rating: 12