Could it be that the public influence music critics more than music critics influence the public? True, music fans will often buy something on the basis of a positive review – but us rock hacks seem even more eager to reverse our opinions when a previously unheralded, vaguely alternative record becomes a big hit.
An indifferent reaction upon release, doted upon in the year-end polls? (What’s the Story) Morning Glory?, The Man Who and Final Straw are the three most notable examples, but Modest Mouse fit in here somewhere. Their records characteristically picked up medium-to-reasonably-positive reviews, until 2004’s Good News For People Who Love Bad News beat a steady march towards platinum status in the US. Come the end of the year, it was widely deemed an artistic triumph.
Remember the initially enthusiastic reaction to Be Here Now? Well, We Were Dead Before The Ship Even Sank may elicit a similar reaction. This is not to say that it’s a bad record (it’s better than Be Here Now>, certainly), just that any critical hosannas should be placed in context.
The album is based on a loose maritime concept, which is likely intended as a metaphor for a sinking relationship. There's a definite sea-shanty feel to opener ‘March Into The Sea’, though it's spoiled somewhat by Isaac Brock trying – and failing – to affect a Tom Waits-style gruffness.
There are some excellent moments elsewhere, though. ‘Fire It Up’ counterpoints its mournful synth melody with a vaguely laddish vocal refrain, to pleasing effect. ‘Parting Of the Sensory’ is a wonderfully brooding, angry number: the line “Who in the hell made you the boss?” offers a clue that this may be the “mutiny” track on this sea-obsessed record. ‘Little Motel’ is one of few occasions where the group restrain themselves from a freak-out or sharp change of direction. Instead they deliver a quietly gorgeous ballad, with a guitar solo that beautifully evokes the caw-caw of seagulls, hovering overhead. In moments like that you realize that Modest Mouse are very much alive.