Modest Mouse
Good News For People Who Love Bad News (2004)

Review by: Dustin Pangonis
Date: 4/17/04

There's a certain feeling among fans of indie rock that any band who signs to a major label, gets on the radio or develops an audience beyond the normal underground crowd is automatically selling out or changing their sound. And while there are certainly bands who gloss up their sound when a big contract is dangled in front of them, sometimes a band finds success simply because their music is too good to deny. But the vague sentiment of "I was listening to them first" can taint even a loyal fan's perception of a band.

So what then is to be made of Modest Mouse? Two months ago, every person I know personally who knows the band (except one) heard of them through me. And I check the Billboard charts today to see that their new record Good News For People Who Love Bad News is in the top twenty and sold 68,000 copies in the first week. Add to that the presence of a song in a Nissan commercial, a minor rock radio hit still gaining steam, and an appearance on Carson Daly, and it can be a bit bewildering. But Modest Mouse find themselves in the rare and envious position of having their artistic peak coincide with their largest commercial success.

On a personal level, it's certainly bizarre to see a band that was greeted with a "Who?" when mentioned and a "What is this trash?" when played for friends. But it's even stranger to think of resenting the idea that a great band is getting recognition.

It also helps to realize that the band hasn't compromised their music in any way. While some may cringe when they hear "Gravity Rides Everything" off the band's 2000 record helping to peddle minivans, on a purely musical basis, there is no reason to complain. This is a band that has expanded and refined their sound with every new record, and Good News merely finds them eliminating the last traces of their more indulgent tendencies of while retaining the quality songwriting and quirks that make the band who they are.

The record shows a great understanding on contrast on every level: the lyrics that bounce between optimism and doubt, the balance between softer songs and rockers, and even the sense of dynamics within songs. For perhaps the first time on a Mouse record, the band avoids their more long-winded side that could drag down a record's momentum (the longest track, "Blame It On The Tetons", clocks it at 5 1/2 minutes.) The band also avoids making their common mistake of stringing several softer songs in a row, slowing the album's pace. There are fewer quiet numbers, and placed better apart, which only serves to help tracks like "The World At Large" stand out as the highlights they are.

One of the biggest drawing points to the band has always been Isaac Brock's lyrical style. Good News sees him in the most optimistic mood yet in his career, though even this is sometimes undercut with lyrics of uncertainty or self-doubt. (as he questions himself "You said 'Do you believe what you're saying?'/Yeah right now, but not that often" in "Satin in a Coffin.")

Elsewhere, Isaac laments life and death, and seems to settle on enjoying life for what it is and not being bogged down by life's problems. The lyrics remain sincere because of that slight sarcasm, though. Brock sounds slightly worn down and fed up with dwelling on the bad, and honest about wanting to change his view. "It's life's not beautiful without the pain, we'll I'd just rather never ever even see beauty again" he sighs with resignation in "The View". But that same track also contains the more optimistic line about growing to accept problems: "Well as life gets longer, awful feels softer. And it feels pretty soft to me."

But perhaps the strangest coincidence for such an album-based band is that the lead single, "Float ON" happens to be not only the strongest track on the album, but one of the finest things the band has ever done. The album in general is the catchiest work by Modest Mouse yet, but "Float On" is one of the band's most instantly appealing tracks.

Coasting by on an irresistible foot-tapping beat, Isaac's perfect guitar work and bouncy rhythm, the song's lyrics detail encountering minor problems and brushing them off, feeling things will be all right in the end. And after a quick drop off in the bridge, the song begins to build back up, vamping on the chorus, and coming as close to anthemic as this band is capable. A new lead guitar line climbs into the mix, vocals begin to overlap, and Isaac's chant of "Alright, already, we'll all float on/Don't you worry, we'll all float on" becomes a sing along mantra. The song ends with Isaac softly singing the chorus accompanied only by a drum beat and shouts of "Alright!" The track's sole flaw is that it offers the temptation to tape down the "repeat" button on your CD player and ignore the rest of the album (which would be a huge shame, because the band forgot the concept of filler when they cut this album.)

But the album is so strong, and I attempt to say this without laying it on too thick and failing horribly, I could fill another review this size with lyrics from any track or raving about nearly any song. The sub-Tom Waits stomp of "Dance Hall" or "The Devil's Work Day", the propulsive "Bury Me With It", the pure majesty of "The Ocean Breathes Salty" or "The View" (and I have to mention "Bukowski", "Black Cadillacs", and "Satin In A Coffin" regardless of set-up,) the highlights are too numerous to be highlights: the album itself is a standout. This is a rare case where a band hits an artistic stride while at the same time breaking into the mainstream, and the best may be yet to come.

Any fan of original rock music needs to make Good News For People Who Love Bad News a top priority, and I hope the next time I write about a Modest Mouse record, I no longer have to explain who they are or why you should be listening to one of the most unique and worthwhile bands out there.

Review by: Chelan David
Date: 2/15/05

The title of the album is striking as well as prescient. Modest Mouse's Good News for People Who Love Bad News delivers on its promise by combining angst-ridden lyrics with beautiful pop melodies. Think the sound of the Flaming Lips combined with the lyrics of Billy Corgan.

Songs like "Ocean Breathes Salty" seem uplifting on first listen, but on closer inspection carry the theme pervasive throughout the album: melancholy images of life drifting by with no sense of purpose.

Isaac Brock, the group's lead singer and lyricist, has mastered the technique of using water as a metaphor for restlessness and despair. In "Blame It on the Tetons" he sings, "Everyone's an ocean drowning with no one really to show how," and "One Chance" contains the lyrics "I've seen so many ships sail in, just to head back out again and go off sinking." On "The World at Large" Brock asks "Why does it always feel like I'm caught in an undertow?"

"Float On" continues the parade of aquatic references. On this track, however, Brock breaks form and provides a hint of welcome optimism, with a delivery so pleasant it hits like a fresh ocean breeze on a carefree day at the beach.

The first few times I listened to Good News for People Who Love Bad News, I simply enjoyed humming along to the melodies. Upon repeated listens, I have grown to enjoy the songs even more as I find the incongruity between the lyrics and harmonies intriguing. This CD provides a perfect soundtrack for getting ready for a night on the town as well as despairing at home on Saturday night, quiet as a mouse with only Brock's soul-searching lyrics to keep you company.