MARC CHOQUETTE
Perspectives Editor
With 2007 bringing new records from many bands that defined the indie sound (the Shins, Modest Mouse) the year has so far been one of the symbolically sophomore album. The releases were not technically a second for the bands but had the feel of a second release, a period when bands must follow up a platinum debut and deal with higher anticipation and expectations for both music and record sales.
From the band’s inception in 1993 until the 2004 effort “Good News for People Who Love Bad News,” Modest Mouse did not carry the flag for the indie movement they now define. They were merely another relatively lost boat in a sea of bands trying to make it big.
Popularity for lead singer Isaac Brock and friends grew with the release of 2003’s “The Moon and Antarctica,” which featured the spacy “Gravity Rides Everything.” But things have not been the same for the Mouse since the release of the contagious and catchy single “Float On,” which became one of radio’s staple summer songs of 2004. It made the band an overnight success, putting them in a limelight they had yet to experience in a decade as full-time musicians.
The band’s March 20 release, “We Were Dead Before the Ship Even Sank,” shows Modest Mouse’s answer to the highest expectations the band has ever faced, with noticeable sonic similarities to the previous album, yet more pop-focused than the previous.
With such great expectations, Brock decided to stay true to what brought them success in the formula of the wildly popular “Good News” album. Returning to the same Oxford, Miss., studio to record and keeping producer Dennis Herring (Counting Crows, Jars of Clay) on board made sure the band would not stray far from the previous album’s signature sound.
But what gives “We Were Dead” an extra edge that has been missing in past albums is the introduction of former Smiths guitarist Johnny Marr as a full-time member of the band. A Feb. 3 Billboard article revealed the larger role Marr took in the album’s crafting, playing lead guitar in many songs and even co-writing songs with Brock, who took on songwriting in previous albums.
Brock describes the new album as a “nautical balalaika carnival romp,” perhaps the most confusing and, at the same time, the best description of the album. Many of the songs feature a downbeat-heavy rhythm, encouraging excessive foot tapping and sing-alongs, with accordions, violins and horns providing the Ringling Brothers turned sailors vibe.
The album’s first single and second song, “Dashboard,” nearly matches the dangerous levels of catchiness that “Float On” brought, starting out with a simple bass drum and the guitarwork of Brock and Marr. It builds to a quick and busy drumbeat, thumping bass and string crescendos.
“Florida” showcases the pop/rock strengths of Modest Mouse and the crisp guitarwork of Marr, whose style fits so well with the band that it seems like he has been there all along. The song has a commanding and heavy, yet quick, beat and a stirring chorus featuring the soaring backup vocals of Shins lead singer James Mercer. Marr’s free-flow soloing through the song hits the perfect balance by providing a melody, yet sounding complementary and not so much overbearing.
While at times Brock can seem downright angry at the microphone and lyrics in some songs are hard to decipher, this eccentric nature is staple behavior for Brock and surely what attracts many fans to Modest Mouse in the first place. In short, eccentricity is what made these guys famous, like most other indie artists. Despite these supposed drawbacks, Brock’s lyrics keep their reflective, critical and at times, cryptic nature of previous albums.
Overall, this is a solid effort for a band dealing with near unrealistic expectations of following up “Good News” with something that could possibly be better. The inclusion of Marr and Mercer add to Brock’s already unique sound and the release should ensure Modest Mouse will retain its seat atop indie rock glory.
03-29-2007
