9/1/2023 0 Comments Modest mouse dead end jobThe album on the whole is coated with a stately sense that differs sizably from the kitschy, cheeky electro-pop sheen of the group’s last effort, 2012’s “Electra Heart," which was in itself a study in the obnoxious side of a pop star’s life. The opening track, “Happy” is a beautifully sweeping ballad, but soon afterward the title track offers up a smothering take on Kate Bush-like mysticism and drama without Bush’s distinct knack, making the track sound like garish disco-muzak. Quicklist: 2title: Marina And The Diamonds’ “Froot” ***1/2text: “Froot” is the third album by Marina and the Diamonds, the act led by Welsh singer and songwriter Marina Diamandis. “The Tortoise And The Tourist” The band does a lot of experimenting on this record and this sludgy, warped jam again finds them hitting a nice sweet spot, effectively recapturing both a sense of weirdness and greatness. Again, this would have made a better single than “Lampshades On Fire.” “Pups To Dust” This song is a highlight mainly because of that warm, watery guitar riff that really sticks with you. Is that a touch out Autotune I hear on Isaac Brock’s voice? There’s real drive on this track and if feels like it is effectively pushing towards something bigger. “The Ground Walks, With Time In A Box” This six-minute, expansive jam is more akin to the band’s best work as the band pairs layers of guitars with strings and a horn section. While this is album has some capable moments, it feels like the band members have lost a considerable amount of momentum. It offers few surprises and when it does surprise, it is usually in a negative way. Where they used to have songs that you’d want to hear on repeat, like the Pavement-esque classic “Polar Opposites,” the expansive and spacey “The Stars Are Projectors” or the off-beat, Pixies-esque “Bury Me With It,” this album feels like the band is still in warm-up mode. The album isn’t without high points, but in all it feels like something is missing. And the dirty, disco-funk feeling was achieved better on previous single “Dashboard.” While this song again isn’t terrible, it feels like a watered-down, forgettable version of what the band has done before. The “ba-ba-ba-ba-ba” vocalizing during the song’s main refrain doesn’t make the song stick. “Lampshades On Fire” seems like an easy attempt for another hit, without the compelling melody of “Float On.” It feels like it is Isaac Brock working by the numbers. “Strangers To Ourselves” is the band’s first release in six years following 2009’s leftovers EP, “No One’s First and You’re Next.” It’s not a bad album, but it is a disappointing one. That album’s follow-up, “We Were Dead Before The Ship Even Sank” from 2007 ended up being just all right, with nothing truly astounding. When the band achieved bigger success 11 years ago with their album “Good News For People Who Love Bad News” on the strength of the huge single, “Float On,” it looked as if they were finally going to get what they deserved. “This Is A Long Drive For Someone With Nothing To Think About,” “The Lonesome Crowded West” and “The Moon & Antarctica” should all rightfully be considered indie-rock triumphs. Quicklist: 1title: Modest Mouse’s “Strangers To Ourselves” **1/2text: Early on in their career, the members of Modest mouse released some real classics. — - intro: This week, indie rockers Modest Mouse return after a six year absence, Marina and The Diamonds offer their third dose of electro-flavored, ethereal pop, Seth Avett and Jessica Lea Mayfield pays tribute to Elliott Smith, former Dire Straits leader Mark Knopfler drops his latest album, country singer Allison Moorer gives us her first record in five years and experimental act AWOLNATION gives us a risky and eclectic record.
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