Modest Mouse's We Were Dead Before the Ship Even Sank have proven to be a difficult album for the staff of Scene Point Blank. Since it's release we have had a number of staff writer's attempt to put into words what makes this album so good. And yet, in all of their attempts, not one has been able to come up with a complete review. Their thoughts have been limited to short statements that declare it to be "their most complete and best album to date," but with little details to explain just why. So what is it about Modest Mouse's latest full-length that makes it so difficult to express ones thoughts? Honestly, I haven't the faintest idea; sometimes an album is just good, and that's the bottom-line.
Following the breakout success of 2004's Good News for People Who Love Bad News, Modest Mouse were quickly regarded as being the next "it band." But rather than allow this or the addition of world-renowned guitarist Johnny Marr to overshadow the just rewards that the band had earned, Modest Mouse did exactly as they had done the past. Frontman Isaac Brock and company got together and wrote an exceptional indie rock album that could be appreciated by all, whether they were a longtime fan dating back to the band's early days or a newborn hipster who first discovered the band by "Float On."
We Were Dead Before the Ship Even Sank is comprised of fourteen songs and a massive sixty-plus minutes. In this day and age when it seems every band is calling their nine-song thirty-five minute EP a full-length, this comes as a great gift to the listener. "March into the Sea" opens the album and really sets the pace for things. Musically, the album is very much in the vein of their previous outings, but there are also little nuances to that pre-existing sound, which demonstrate that the band is constantly evolving
no
perfecting their sound.
"Dashboard" was the first single and the reasoning could not have been more obvious. The main riff supplied by Marr is fantastic. And the band's infusion of horns gives the song a big and bold sound. This partnered with an infectious chorus from Brock is a recipe for success. Besides, how can you not like a song that references the classic comedy film Planes, Trains and Automobiles?
As the album continues along, the band experiments with their sound. "Fire it Up" eases back on the pace and follows along to a programmed beat and Eric Judy's thumping bassline. "Florida" is an interesting number, which half the time sounds like a weird twist on a Talking Heads song, other times it sounds like an arty and noisy post-punk number.
And while at their simplest Modest Mouse is a rock band, they are not your run-of-the-mill musicians writing pre-manufactured pop songs that have been regurgitated for the masses. "Parting of the Sensory" is a perfect example of that. The song twists and turns its way from a slow plodding pace that is centered on foot stomping and handclaps to a full-force string-based folk jam - I just picture a county fair and some serious dancing going down. The centerpiece of the song is Brock's storytelling though; he really paints a picture with his words.
Modest Mouse continue to expound on their trademark sound as their unveil We Were Dead Before the Ship Even Sank. "Missed the Boat" infuses their sound with the new-wave-esque guitar styling of Marr's work with The Smiths. "We've Got Everything" follows along the same lines of "Dashboard" with its upbeat guitars and infectious pop lyrics. The band even gets a little help from James Mercer of The Shins with background vocals; his interjections provide a nice juxtaposition to Brock's voice.
"Fly Trapped in a Jar" is one of the songs that harkens back to the band's quirky material from The Moon & Antarctica, specifically Brock's neurotic vocal approach. As I listen to this song again, I think to myself how great of songwriters these guys really are. "Little Motel" is a dreamy post-punk number accentuated with Fugazi-inspired guitars and Brock scaled backed vocals approach - using spoken words as opposed to his half barked/half sung melodies.
"Spitting Venom" clocks in at eight minutes plus. But length be damned, this song is fantastic. I dare you to listen to it and not fall in love. "People as Places as People" is actually the only song on the album that I really feel is out of place. I'm not sure why, maybe it's because it has the unfortunately luck of following "Spitting Venom," but I'm not impressed by it. "Invisible" concludes the album and in fitting fashion for Modest Mouse. The band is in top form with another catchy number centered on the fantastic guitar work of Marr.
Modest Mouse may have made the jump from indie darlings to mainstream poster boys of the hipster culture, but they're still the same band. There has been not compromising in their sound. So rather than make any allegations of them selling out, you should take We Were Dead Before the Ship Even Sank for what it is, a great indie rock album.
