Today marks one week since the release of Strangers To Ourselves, and for anyone still on the fence about picking up a copy, you’re probably wondering, is it worth the eight-year delay? Well, to put it unprofessionally blunt…Yeahhh, it’s fuckin’ awesome Dad!
Okay, so perhaps I may be a bit biased. Maybe I got the balloon from the cover of We Were Dead Before The Ship Even Sank permanently etched into my flesh, whoever said fans were rational people. So why should my opinion matter, if at all, (Think for Yourself,) because if you can’t keep the fans you’ve got coming back, then why would anymore flock your way?
Following in the wake of 2009’s, No One’s First And You’re Next, Strangers To Ourselves is a collection of everything that people have come to love about Modest Mouse. Ranging from the more groove-based tracks of the mid 90’s, to the more processed experimental sounds featured in “Pistol,” and every project in between.
One major undertaking by frontman Isaac Brock was the creation of his own record label, Glacial Pace Recordings in 2005, signing multiple bands and co-producing artists such as Mimicking Birds alongside Clay Jones for example. With Isaac’s growing experience, I dove headfirst into Strangers To Ourselves expecting a high production value and I was not let down.
Right out of the gate, the first single “Lampshades On Fire” did what it was meant to do and lit the fire (pun intended,) underneath a thick hearty stew of press releases and a “wicked” promo “campaign,” (see what I did there.) The release of “Coyotes” was accompanied by a music video featuring the aforementioned canine riding a vacant MAX light rail in Portland, illustrating the melancholic mood of the track. “The Best Room” followed with an abrupt energy in the verses set against a laidback chorus that wouldn’t have been far out of place on Good News For People Who Love Bad News.
The grooving riffs and bass line featured in “The Ground Walks, With Time In A Box” are a clear indication that the influence of guitarist Johnny Marr (The Smiths) and his contribution to We Were Dead Before The Ship Even Sank is not too be forgotten. The last of these releases and final track of the album was “Of Course We Know.” Though quite somber, the song has the subtle ability to worm its way into your ear.
The styling’s of Edgar Graham, a.k.a. Ugly Casanova, which ties closely to The Moon and Antarctica, can also be heard creeping their way into tracks such as “Shit In Your Cut,” “God Is An Indian and You’re an Asshole,” and “Pistol,” which is probably the most distinct song on the album.
While “Pups To Dust” reflects on the bands sound in the late 90’s to early 2000’s it also bridges the gap to what would evolve between Good News… and We Were Dead… continuing into the refined sound displayed via No One’s First and You’re Next. Other gems include the tropically influenced tune, “Ansel,” and a swinging beat featured in “Be Brave,” while the high-toned effect made famous in “The Whale Song” also makes its return in “The Tortoise and The Tourist.”
My personal favorite track at this time, hands down, is “Sugar Boats.” With heavy emphasis on the beat, horn arrangements, grainy guitar sounds, and an aggressive energy to rival “Dance Hall,” “Sugar Boats” hit me from the first play and will not be easily outdone.
Strangers To Ourselves epitomizes everything that Modest Mouse has become over the past twenty years and as a longtime fan that’s waited impatiently for this album to materialize, I couldn’t be more content. I give it a 9 out of 10 on the Noise Meter with no complaints and the highest of recommendations. Spend the loot!
PURCHASE STRANGERS TO OURSELVES HERE
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