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Imaginez cette fille, dont vous êtes follement amoureux. Elle n'est pas parfaite, loin de là, et vous le savez, mais elle est drôle, vive, capable à tout moment de vous surprendre. Et puis quand elle enfile ces chouettes habits, là, et vous subjugue, ou lorsqu'elle vous tient en haleine et que vous avez parfois le souffle coupé quand vous l'admirez, ou alors quand vous pensez à elle sans arrêt et il y a aussi sa fragilité qui vous émeut sous ses airs de forte tête et elle n'est semblable à aucune autre fille que vous avez pu rencontrer. Parfois, il est vrai, elle vous ennuie un peu avec ses histoires interminables qui gagneraient à être raccourcies mais la profusion de digressions fait aussi leur charme sinueux. Parfois il arrive même que le doute s'empare de vous : après tout, la plupart de vos amis ne l'apprécient pas tellement, la trouvent banale, lunatique, un peu rustre, ou même étrangement bizarre et pas très fréquentable. Qu'ils aillent au diable, elle est cool et sexy, et vous revenez toujours à elle et vous avez hâte de viellir à ses côtés, de l'accompagner tout au long de votre vie.
Imaginez maintenant que cette fille se transforme bruquement en une de ces bimbos aux formes atomiques, à la démarche parfaite, devant laquelle les hordes de mâle tirent la langue. Ses vêtements coupés à la dernière mode lui attirent louanges et regards lubriques. La voilà devenue ce genre de fille qui attire immédiatement l'oeil, aux charmes évidents, qui promet aux plus chanceux des plaisirs immédiats, un peu allumeuse, mais aussi un peu creuse. Celle dont vos collègues ou copains vous râbachent les oreilles, celle dont tout le monde parle, partout, tout le temps, oui celle-ci ou une autre, conçue sur le même modèle, peut-être même un peu plus jeune, plus fraîche, et plus provocante.Lire la suite ›
Ce disque est une pure merveille probablement un des meilleurs albums des années 2000. Chaque écoute révèle de nouvelles richesses et de nouveaux secrets. Le son Modest Mouse reconnaissable à 100 km est ici mis en valeur par une production puissante. Et que dire de ces mélodies travaillées et magiques. We were dead est la suite logique des somptueux "The Moon & Antartica" et "Good news ...", l'album de la plénitude pour un groupe créatif, à nul autre pareil et pourtant toujours ignoré par chez nous.
Commentaires client les plus utiles sur Amazon.com (beta)
33 internautes sur 36 ont trouvé ce commentaire utile
Modest Mouse Are Not Dead21 mars 2007
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I have to say that while I found the band's last album, "Good News.." to be a slight disappointment, I didn't think it sounded like a sellout at all. It was much more quirky than the typical records out there, and even some of the more trendy music out at the time. And while the band's most accessible album to date, "Ship" is 100% a Modest Mouse record. Even with former Smiths guitarist Johnny Marr now in the fold, even when Shin James Mercer does background vocals. And while it's also clean produced like the last one, that doesn't mean it's over-polished at all.
Of course, there's people who will try and insult people who like this new stuff, and there'll be a few mainstream sheep who decide it's good because the masses told them. But let's get realistic: Modest Mouse have been on a major label since 2000's "The Moon & Antarctica." (The album that introduced me to the band.) Them taking steps to commercial steps was inevitable from there. I have no problem with them becoming big. If you like them to stick with the Sonic Youth-type of seven-minute jam-out songs, just stick with "Long Drive" and "The Lonesome Crowded West." This, the new record, does actually have an epic track in it, "Spitting Venom," which starts out raw and acoustic in its first minute and a half but soon builds up from that. It's kind of interesting, as is the rest of the album.
Besides, I can't remember the pump organ and accordion being used so often in pop music as it is on here. There's no real Isaac Brock freak-outs here, but he still is full of personality on here. Also, where the interludes seemed a bit annoying and unnecessary last time, the newly used instruments are now utilized into actual songs! It's a more mature Modest Mouse album, and while consistent, it's never boring. You get the more easily digestible stuff like the acoustic-based "Little Motel" and the ultra-catchy "Steaming Engenius" (next single perhaps?). They change the tempos and structures at times this time around, too, on the excellent "Parting of the Sensory." Really, none of the 14 songs are bad at all.
If you can respect and accept that your little band is now shooting for the stars, I think you'll find something to enjoy on the band's fifth LP. It is not perhaps the most startling of the band's albums, but they don't need to do that with us anymore. I couldn't have possibly asked for a better album from these guys.
17 internautes sur 20 ont trouvé ce commentaire utile
Just as Strong an Entry as Any for Modest Mouse21 mars 2007
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Much like Lonesome Crowded West with Teeth Like God's Shoeshine blaring loud and strong at the start, March Into the Sea really kicks off the album, and is one of the best on the album. The rest of the album doesn't let up.
Frankly, I don't see where people get selling out. In my mind, they've simply been progressing forward. Each album explores a different sound, and in each album that sound gets exhausted. If they continued to use any one album's sound, we would all complain they have no innovation and all their songs sound the same. (look at Mechanical Birds and the end of Polar Opposites...a third and thats what we all would be thinking)
With that over, I've listened to this album a couple times, and with each listen get into it more. Modest Mouse is one of those bands you need to keep listening to, you can't expect to "get" them on the first listen. I only liked one or two songs on Lonesome... and now I love them all.
I do think this is more of a return to their older work, not simply a third chapter in what began at Moon & Antarctica and continued with Good News, but it does sound like them with an entirely new one.
Missed the Boat
People as Places as People
9 internautes sur 10 ont trouvé ce commentaire utile
My thoughts16 mai 2007
- Publié sur Amazon.com
Good album that borders on great. I'd say it's a bump up from 'Good News'; just as 'Dashboard' is not nearly as powerful a pop-ballad as the sickeningly popular 'Float On' became to me, 'We Were Dead', as an album in its entirety, regresses from the pop-laden mentality of its older brother, instead pulling out cues from the bands earlier work; i.e. creative, unpredictable, discordant song structure, etc. To be fair, the album is not a work of unparalleled complexity, but it IS complex -- I've never understood the argument that 'Good News'' foray into a more pop-filled musical universe discounted the actual stuff being written (the best pop's as good as anything, in my mind), and I don't understand it because it doesn't make sense -- 'Good News', like this album, still possessed so many of the engrossing musical/personality traits of the entity known as Modest Mouse. Who in the world thinks 'The Moon and Antarctica' was devoid of pop anyway?; need I point you to the first tracks on that album? Right. Oh, and for those who want to try and tell me that Modest Mouse's output pre-Moon was their peak, I say this -- you're wrong; if you want to tell me establishing some sort of lyricism via music and melody over time is a negative, and that retaining a peculiarly "raw" sound that refuses to enter territories known to us already is the only way to go about things...; I say look at how delicately Brock and co., over the years, managed to become more and more evocative; 'The Moon and Antarctica', in its heavier time/spaces, is one of the most poignant, reflective, intimate albums I've heard. And these guys, as far as I know, are a bunch of stoners (gasp!).
Sorry to get off track. I've liked every Modest Mouse album I've ever heard -- to varying degrees -- and this is no different; soundscapes breath a familiar air, yet still manage to impress with their fresh imprinting of that already-unique Modest Mouse musical palette. Where the album doesn't work as well as its prior, to me, is in its synthesis as a whole; all of MM's previous works have, in the end, felt complete; 'We Were Dead', despite maintaining some consistently awesome material after its mid-way point, seems to lose direction, or at least stability, and goes off tempo, with song structures not transitioning correctly into one or another, and other such matters... Too eclectic, even for Brock; there needs to be order. Nonetheless, that's the biggest flaw of the album, I think, and I speak of such in regards to only the music, too; when it seems like its psychotically running for the cliff, seeming never to return, Brock still provides SOME base with the ideas and themes he established earlier in the album... and thus, at that particular level, there is a start and finish to the whole thing -- even if the band's music doesn't display it the whole time, Brock's mind is in a state of congruency, and it saves the day.
OK last interjection -- though I really do love much of 'We Were Dead' musically, it really is one of those rare cases (for me, at least), where the lyrics actually rise above the music; again, to reinstate, this ---IS--- good, often stellar music, and yet Brock's poignant expressions still rise above that.... Brock has always been one of my favorite lyricists, probably because he seems to share some similar personality to my own; at once a goofball able to throw words together not before thought sane -- a musical comedian, to a degree -- but also able to convey his separate selves with such resonance, from anger, sadness, to fear, and all the while doing it wish a piercing imagination and execution..... Again, it's his worldview that I find so enrapturing, because he thinks for himself, distinctly from so many others, but all-the-while he is musing on things that I, and probably you, have too; when I listen to this album, I get relief in that I can relate to a madman like Brock (I'm not alone), and what appears new to me is not really new; I'm just accessing that little Issac Brock within the barrels of my unconscoius... and he's smiling. Wait, nevermind......
.........he's not smiling. He's neurotic as sin. The lyrics on 'We Were Dead', despite the music nearly always being up-tempo and of a pretty benign tone, are desperate, tragic, ugly. I'm not sure I've ever heard one album filled to the brim with personal anxieties, but again, it seems as if Brock is both opening up himself but also the universality of these particular emotional states we all are facing at this point in time and culture. It's a mini-novel, if you want to call it that; the metaphor of the ship -- ourselves -- finally sinking with nobody onboard.. Sure, the idea of spiritual death is nothing new, but the way Brock comments on the particular subject and its prevalence in both his existence and our own is intelligent and, like Brock has demonstrated before, reflective and sincere.
So overall, just get the stupid album.
12 internautes sur 15 ont trouvé ce commentaire utile
An album to waste away the summer to16 mars 2007
- Publié sur Amazon.com
Every album Modest Mouse puts out is a completely new endeavor and We Were Dead Before the Ship Even Sank is no exception. This album has a drifting, lightweight feel similar to that of This is a Long Drive for Someone with Nothing to Talk About but with the core of it's imagery carrying a more nautical theme. Isaac Brock's lyrics aren't as heavy, epic, or clever as on previous albums, but there are still moments of brilliance such on tracks like "Parting of the Sensory" where Brock talks of our decomposed and re-consumed bodies after death as "carbon's anniversary" (a metaphor that would take a five-page essay to explain).
The music this time around is extremely accessible, even moreso than their previous album. All of the tracks are produced so immaculately you'd think that they were mixed with shoeshine. This could be a downer for some long-time Modest Mouse fans, as all the grit that defined earlier albums is now officially dead and gone. The up side is that Isaac Brock's vocal performance is the best it has ever been. Gone is the uncontrolled scream-singing of This is a Long Drive for Someone with Nothing to Talk About, Isaac has full control now. This is especially evident on March into the Sea where the vocals range from soft and melodious to the growling laugh of a senile pirate. Original drummer Jeremiah Green is back at the helm, but his trademark wild off-kilter snare fills are hard to find. They could be there, but if they are then they are surely overwhelmed by the heavy snare/kick beats that dominate songs such as "Dashboard", "We've Got Everything", and "Education". There's been a lot of buzz about Johnny Marr joining the group too; however, fans of The Smiths expecting to hear their beloved god of sound back in full form will be sorely disappointed. Marr's guitar work on We Were Dead is very subtle and complimentary to the pre-existing Modest Mouse sound. If anything, his most noticeable dent on the band is how much tighter they sound with such an experienced guitarist on the roster.
One last musical addition of note. The Shins' James Mercer performs backup vocals on three of the album's tracks. Although "backup" is an understatement. Mercer's voice is so soaring that at times you completely forget Isaac Brock is even there.
So are these pros or cons? I would have to say that they're all pros. This isn't a negative review. By all means this is a great album with some truly memorable tracks (the monster 3-song closing alone is enough to warrant buying it).
It's difficult to review an album from a band as unique as Modest Mouse without making comparisons to previous albums and noting the progression of the band as a whole. This album seems to convey a group more confident in their sound than ever before. It is also an impressively diverse album, with an assortment of songs that span the entire Mouse catalog stylistically. There are angry rants and furious death marches a la Lonesome Crowded West ("March into the Sea", "Fly Trapped in a Jar"), spacey brooding to the tune of Moon and Antarctica ("Parting of the Sensory"), and even lofty indie/pop songs which could just as easily be found on Good News for People Who Love Bad News ("We've Got Everything", "Missed the Boat"). Also, there is a pleasant assortment of songs completely unique to this album, "Spitting Venom", "Little Motel", and "Florida" come to mind ... which might just be some of the best tracks here.
That all being said, We Were Dead Before the Ship Even Sank is probably not the best Modest Mouse has ever put out, but it is without question a solid piece of work, filled with wonderful songs to take with you on your next sailing trip. Four stars.
11 internautes sur 14 ont trouvé ce commentaire utile
When we find the perfect water, we'll hang out on the shore20 mars 2007
- Publié sur Amazon.com
Wow. I was very happy to purchase this cd. To all of the people out there who do not have anything better to do then write horrible reviews about this cd, you do not have any idea what you're talking about. It is not supposed to sound like "Good News". If you have been a MM fan before "Good News" then you know what I am talking about. MM is so much more then what people assume them to. If you "actually" listen to the cd more than once you will understand more about the music. And see I said actually because half of the people that write reviews listen to it once and then write their reviews.
See what I just wrote was not a review. It is just me complaining.
So everyone if you have enjoyed their music in the past then you will enjoy this alot. Just give it a listen and see what you think.
We Were Dead Before The Ship Even Sank is MM at their finest. It shows how the have became so much more talented they have become in their career.