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Good News for People Who Love Bad News - DUALDISC
Released: Oct 11, 2005
Label: N\A

After more than a decade with {$Modest Mouse}, {$Isaac Brock} still sounds young and weird and searching, and never more so than on {^Good News for People Who Love Bad News}, which follows the... Continue[+]

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After more than a decade with {$Modest Mouse}, {$Isaac Brock} still sounds young and weird and searching, and never more so than on {^Good News for People Who Love Bad News}, which follows the band's meditative {^The Moon & Antarctica} with a set of songs that are more focused, but also less obviously profound. The occasionally indulgent feel of {^The Moon & Antarctica} allowed {$Modest Mouse} the room to make epic statements about life, death, and the afterlife; while {^Good News for People Who Love Bad News} is equally concerned with mortality and spirituality, it has a more active, immediate feel that makes its comments on these subjects that much more pointed. {$Modest Mouse} hit these points home with a louder, more {\rock}-oriented sound than they've had since {^The Lonesome Crowded West}, particularly on {&"Bury Me with It,"} which embodies many of the contradictions that continue to make the band fascinating. For a song loosely about contemplating death, it sounds strikingly vital and liberated; {$Brock} delivers finely shaded lyrics like "We are hummingbirds who've lost the plot and we will not move" with a barbaric yawp; it's nonsensical but oddly climactic, conveying how what seems trivial can be anything but. {&"The View"}'s angular bassline and scratchy guitars underscore the {$Talking Heads} influence on {$Modest Mouse}, but since {$the Heads} have become a more trendy touchstone (mostly for bands with less creativity than either {$Talking Heads} or {$Modest Mouse}), it's nice to hear how {$Brock} and company take that influence in a different direction instead of just rehashing it with less inspiration. Feeling stuck is a major theme on {^Good News for People Who Love Bad News}, but the same can't be said about the album's sound, which spans the forceful {\rock} of the aforementioned songs to the pretty {\guitar pop} of {&"Float On"} and {&"Ocean Breathes Salty"} to the lovely, rustic {&"Blame It on the Tetons."} That's not even mentioning the contributions of {$the Dirty Dozen Brass Band}, who open {^Good News for People Who Love Bad News} with the aptly named {&"Horn Intro."} They also add a theatrical jolt to the wickedly funny, {$Tom Waits}-inspired {&"Devil's Workday,"} which along with the noisy stomp of {&"Dance Hall"} and {&"Bukowski"}'s witty self-loathing, underscore that {$Modest Mouse} haven't lost the edge that made the band compelling in the first place. Other standouts include {&"Satin in a Coffin,"} a creatively creepy mix of rattling {\bluegrass}-{\rock} with a {\tango} beat that nods to the group's backwater roots; {&"One Chance,"} an unusually open and straightforward {\ballad}; and the dreamlike {&"World at Large,"} on which {$Brock} sings "I like songs about drifters -- books about the same/They both seem to make me feel a little less insane," once again proving that he's a past master of lyrics that are both abstract and precise. Even though this album isn't as immediately or showily brilliant as {^The Moon & Antarctica}, {^Good News for People Who Love Bad News} reveals itself as just as strong a statement. By drawing an even sharper contrast between the harsh and beautiful things about their music, as well as life, {$Modest Mouse} have made an album that's moving and relevant without being pretentious about it. [This DualDisc version contains bonus material.] ~ Heather Phares, All Music Guide

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Ocean Breathes Salty
Released: Jan 11, 2005
Label: N\A

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Float On - AUSTRALIA CD
Released: Aug 10, 2004
Label: N\A

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Good News for People Who Love Bad News - JAPAN BONUS TRACKS
Released: Aug 3, 2004
Label: N\A

After more than a decade with {$Modest Mouse}, {$Isaac Brock} still sounds young and weird and searching, and never more so than on {^Good News for People Who Love Bad News}, which follows the... Continue[+]

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After more than a decade with {$Modest Mouse}, {$Isaac Brock} still sounds young and weird and searching, and never more so than on {^Good News for People Who Love Bad News}, which follows the band's meditative {^The Moon & Antarctica} with a set of songs that are more focused, but also less obviously profound. The occasionally indulgent feel of {^The Moon & Antarctica} allowed {$Modest Mouse} the room to make epic statements about life, death, and the afterlife; while {^Good News for People Who Love Bad News} is equally concerned with mortality and spirituality; it has a more active, immediate feel that makes its comments on these subjects that much more pointed. The band hits these points home with a louder, more {\rock}-oriented sound than they've had since {^The Lonesome Crowded West}, particularly on {&"Bury Me With It,"} which embodies many of the contradictions that continue to make {$Modest Mouse} fascinating. For a song loosely about contemplating death, it sounds strikingly vital and liberated; {$Brock} delivers finely shaded lyrics like "We are hummingbirds who've lost the plot and we will not move" with a barbaric yawp; it's nonsensical but oddly climactic, conveying how what seems trivial can be anything but. {&"The View"}'s angular bassline and scratchy guitars underscore the {$Talking Heads} influence on {$Modest Mouse}, but since {$the Heads} have become a more trendy touchstone (mostly for bands with less creativity than either {$Talking Heads} or {$Modest Mouse}), it's nice to hear how {$Brock} and company take that influence in a different direction instead of just rehashing it with less inspiration. Feeling stuck is a major theme on {^Good News for People Who Love Bad News}, but the same can't be said about the album's sound, which spans the forceful {\rock} of the aforementioned songs, to the pretty {\guitar pop} of {&"Float On"} and {&"Ocean Breathes Salty,"} to the lovely, rustic {&"Blame It on the Tetons."} That's not even mentioning the contributions of {$the Dirty Dozen Brass Band}, who open {^Good News for People Who Love Bad News} with the aptly named {&"Horn Intro."} They also add a theatrical jolt to the wickedly funny, {$Tom Waits}-inspired {&"Devil's Workday,"} which along with the noisy stomp of {&"Dance Hall"} and {&"Bukowski"}'s witty self-loathing, underscore that {$Modest Mouse} haven't lost the edge that made the band compelling in the first place. Other standouts include {&"Satin in a Coffin,"} a creatively creepy mix of rattling {\bluegrass}-{\rock} with a {\tango} beat that nods to the group's backwater roots; {&"One Chance,"} an unusually open and straightforward {\ballad}; and the dreamlike {&"World at Large,"} on which {$Brock} sings, "I like songs about drifters -- books about the same/They both seem to make me feel a little less insane," once again proving that he's a past master of lyrics that are both abstract and precise. Even though this album isn't as immediately or showily brilliant as {^The Moon & Antarctica}, {^Good News for People Who Love Bad News} reveals itself as just as strong a statement. By drawing an even sharper contrast between the harsh and beautiful things about their music, as well as life, {$Modest Mouse} have made an album that's moving and relevant without being pretentious about it. [The album's Japan edition featured bonus tracks.] ~ Heather Phares, All Music Guide

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Float On/I've Got It All
Released: May 4, 2004
Label: N\A

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Good News for People Who Love Bad News
Released: Apr 6, 2004
Label: N\A

After more than a decade with {$Modest Mouse}, {$Isaac Brock} still sounds young and weird and searching, and never more so than on {^Good News for People Who Love Bad News}, which follows the... Continue[+]

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After more than a decade with {$Modest Mouse}, {$Isaac Brock} still sounds young and weird and searching, and never more so than on {^Good News for People Who Love Bad News}, which follows the band's meditative {^The Moon & Antarctica} with a set of songs that are more focused, but also less obviously profound. The occasionally indulgent feel of {^The Moon & Antarctica} allowed {$Modest Mouse} the room to make epic statements about life, death, and the afterlife; while {^Good News for People Who Love Bad News} is equally concerned with mortality and spirituality, it has a more active, immediate feel that makes its comments on these subjects that much more pointed. The band hits these points home with a louder, more {\rock}-oriented sound than they've had since {^The Lonesome Crowded West}, particularly on {&"Bury Me With It,"} which embodies many of the contradictions that continue to make {$Modest Mouse} fascinating. For a song loosely about contemplating death, it sounds strikingly vital and liberated; {$Brock} delivers finely shaded lyrics like "We are hummingbirds who've lost the plot and we will not move" with a barbaric yawp; it's nonsensical but oddly climactic, conveying how what seems trivial can be anything but. {&"The View"}'s angular bassline and scratchy guitars underscore the {$Talking Heads} influence on {$Modest Mouse}, but since {$the Heads} have become a more trendy touchstone (mostly for bands with less creativity than either {$Talking Heads} or {$Modest Mouse}), it's nice to hear how {$Brock} and company take that influence in a different direction instead of just rehashing it with less inspiration. Feeling stuck is a major theme on {^Good News for People Who Love Bad News}, but the same can't be said about the album's sound, which spans the forceful {\rock} of the aforementioned songs, to the pretty {\guitar pop} of {&"Float On"} and {&"Ocean Breathes Salty,"} to the lovely, rustic {&"Blame It on the Tetons."} That's not even mentioning the contributions of {$the Dirty Dozen Brass Band}, who open {^Good News for People Who Love Bad News} with the aptly named {&"Horn Intro."} They also add a theatrical jolt to the wickedly funny, {$Tom Waits}-inspired {&"Devil's Workday,"} which along with the noisy stomp of {&"Dance Hall"} and {&"Bukowski"}'s witty self-loathing, underscore that {$Modest Mouse} haven't lost the edge that made the band compelling in the first place. Other standouts include {&"Satin in a Coffin,"} a creatively creepy mix of rattling {\bluegrass}-{\rock} with a {\tango} beat that nods to the group's backwater roots; {&"One Chance,"} an unusually open and straightforward {\ballad}; and the dreamlike {&"World at Large,"} on which {$Brock} sings, "I like songs about drifters -- books about the same/They both seem to make me feel a little less insane," once again proving that he's a past master of lyrics that are both abstract and precise. Even though this album isn't as immediately or showily brilliant as {^The Moon & Antarctica}, {^Good News for People Who Love Bad News} reveals itself as just as strong a statement. By drawing an even sharper contrast between the harsh and beautiful things about their music, as well as life, {$Modest Mouse} have made an album that's moving and relevant without being pretentious about it. ~ Heather Phares, All Music Guide

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The Moon & Antarctica - BONUS TRACKS
Released: Mar 5, 2004
Label: N\A

{$Modest Mouse}'s {@Epic} debut, {^The Moon & Antarctica}, finds them strangely subdued, focusing on mortality as well as the moody, acoustic side of their music and downplaying the edgy, spastic... Continue[+]

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{$Modest Mouse}'s {@Epic} debut, {^The Moon & Antarctica}, finds them strangely subdued, focusing on mortality as well as the moody, acoustic side of their music and downplaying the edgy, spastic {\rock} that helped make them {\indie} stars. Not that their first major-label release sounds like a sellout -- actually, the slight sheen of {$Brian Deck}'s production enhances the album's introspective tone -- but occasionally {^The Moon & Antarctica}'s melancholy becomes ponderous. Unfortunately, the album's middle stretch contains three such songs, {&"The Cold Part,"} {&"Alone Down There,"} and {&"The Stars Are Projectors,"} which tend to blur together into one 17-minute-long piece that bogs down the album's momentum. Individually, each of these songs is sweeping and haunting in its own right, but grouping them together blunts their impact. However, this trilogy does provide a sharp contrast to, as well as a bridge across, {^The Moon & Antarctica}'s more vibrant beginning and end. Though it explores death and the afterlife, {^The Moon & Antarctica}'s liveliest moments are its most effective. {&"3rd Planet"}'s simple, ramshackle melody and strange, moving lyrics ("Your heart felt good"), the elastic guitars on {&"Gravity Rides Everything,"} and the angular, jumpy {&"Tiny Cities Made of Ashes"} and {&"A Different City"} get the album off to a strong start, while the fresh, unaffected {&"Wild Packs of Family Dogs,"} {&"Paper Thin Walls,"} and {&"Lives"} bring it to an atmospheric, affecting peak before {&"What People Are Made Of"} closes the album with a climactic burst of noise. Their most cohesive collection of songs to date, {^The Moon & Antarctica} is an impressive, if flawed, map of {$Modest Mouse}'s ambitions and fears. [The 2004 reissue has been remastered and features {@BBC} performances of {&"3rd Planet,"} {&"Perfect Disguise,"} and {&"Tiny Cities Made of Ashes,"} as well as an instrumental version of {&"Custom Concern"} from {^This Is a Long Drive for Someone With Nothing to Think About}.] ~ Heather Phares, All Music Guide

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Everywhere and His Nasty Parlor Tricks
Released: Sep 25, 2001
Label: N\A

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Sad Sappy Sucker
Released: Apr 24, 2001
Label: N\A

{^Sad Sappy Sucker} is {$Modest Mouse}'s "lost album." It was recorded by {@K Records}' {$Calvin Johnson} in 1994 and was supposed to be the band's debut, but delays shelved the record and it... Continue[+]

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The Moon & Antarctica
Released: Jun 13, 2000
Label: N\A

{$Modest Mouse}'s {@Epic} debut, {^The Moon & Antarctica}, finds them strangely subdued, focusing on mortality as well as the moody, acoustic side of their music and downplaying the edgy, spastic... Continue[+]

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{$Modest Mouse}'s {@Epic} debut, {^The Moon & Antarctica}, finds them strangely subdued, focusing on mortality as well as the moody, acoustic side of their music and downplaying the edgy, spastic {\rock} that helped make them {\indie} stars. Not that their first major-label release sounds like a sellout -- actually, the slight sheen of {$Brian Deck}'s production enhances the album's introspective tone -- but occasionally {^The Moon & Antarctica}'s melancholy becomes ponderous. Unfortunately, the album's middle stretch contains three such songs, {&"The Cold Part,"} {&"Alone Down There,"} and {&"The Stars Are Projectors,"} which tend to blur together into one 17-minute-long piece that bogs down the album's momentum. Individually, each of these songs is sweeping and haunting in its own right, but grouping them together blunts their impact. However, this trilogy does provide a sharp contrast to, as well as a bridge across, {^The Moon & Antarctica}'s more vibrant beginning and end. Though it explores death and the afterlife, {^The Moon & Antarctica}'s liveliest moments are its most effective. {&"3rd Planet"}'s simple, ramshackle melody and strange, moving lyrics ("Your heart felt good"), the elastic guitars on {&"Gravity Rides Everything,"} and the angular, jumpy {&"Tiny Cities Made of Ashes"} and {&"A Different City"} get the album off to a strong start, while the fresh, unaffected {&"Wild Packs of Family Dogs,"} {&"Paper Thin Walls,"} and {&"Lives"} bring it to an atmospheric, affecting peak before {&"What People Are Made Of"} closes the album with a climactic burst of noise. Their most cohesive collection of songs to date, {^The Moon & Antarctica} is an impressive, if flawed, map of {$Modest Mouse}'s ambitions and fears. ~ Heather Phares, All Music Guide

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