With their interstellar (really!) lyrics and angular song structures, Modest Mouse tend to defy their self-deprecating band name. In truth, the trio's got some lofty ambitions, and The Moon and Antarctica indulges their gr... more »and dreams with pristine production and a vivid sonic backdrop. It also dives deeply into their geographical obsessions--always with the same subjective twists that made The Lonesome Crowded West and This Is a Long Drive for Someone with Nothing to Think About such inspired wonders. Isaac Brock opens Moon with meditations on the universe's shape--all twisted into such a solipsistic tangle that they illuminate immediately how much these songs are about the mind as about the world. Rarely giving off the cage-jarring thickness of guitar rock, Moon's 15 tunes are shaped around vignettes of a disheveled head figuring out the rambling disconnections of postmodern society. Guitars wobble, Brock wails on vocals, and his band mates--Eric Judy and Jeremiah Green--help take each song away from any predictable formula and toward wherever they seem to want to go. This is a band as profoundly touched by suburbia as was writer Harold Brodkey. You can imagine Brock, Green, and Judy lying on wide-open lawns, philosophizing about the shape of the universe and coming up with lyric moments like this (sung to folky, spare acoustic guitar): "A wild pack of family dogs came running through the yard and as my own dog ran away I didn't say much of anything at all / A wild pack of family dogs came running through the yard as my little sister played; the dogs took her away, and I guess she was eaten up, okay." Replays of American Beauty, anyone? --Andrew Bartlett« less
With their interstellar (really!) lyrics and angular song structures, Modest Mouse tend to defy their self-deprecating band name. In truth, the trio's got some lofty ambitions, and The Moon and Antarctica indulges their grand dreams with pristine production and a vivid sonic backdrop. It also dives deeply into their geographical obsessions--always with the same subjective twists that made The Lonesome Crowded West and This Is a Long Drive for Someone with Nothing to Think About such inspired wonders. Isaac Brock opens Moon with meditations on the universe's shape--all twisted into such a solipsistic tangle that they illuminate immediately how much these songs are about the mind as about the world. Rarely giving off the cage-jarring thickness of guitar rock, Moon's 15 tunes are shaped around vignettes of a disheveled head figuring out the rambling disconnections of postmodern society. Guitars wobble, Brock wails on vocals, and his band mates--Eric Judy and Jeremiah Green--help take each song away from any predictable formula and toward wherever they seem to want to go. This is a band as profoundly touched by suburbia as was writer Harold Brodkey. You can imagine Brock, Green, and Judy lying on wide-open lawns, philosophizing about the shape of the universe and coming up with lyric moments like this (sung to folky, spare acoustic guitar): "A wild pack of family dogs came running through the yard and as my own dog ran away I didn't say much of anything at all / A wild pack of family dogs came running through the yard as my little sister played; the dogs took her away, and I guess she was eaten up, okay." Replays of American Beauty, anyone? --Andrew Bartlett
Just when I had about given up on contemporary rock...
Thomas Aikin | San Diego, CA | 07/14/2000
(5 out of 5 stars)
"The year two-thousand reminds me a lot of 1990. Various dance pop groups and a style of mainstream that has completely stangnated. Most of my interest with rock music has been waiting for the next Radiohead album. In spite of this I try to keeb tabs on the "indie-rock" culture, and pick up an occassional album I really enjoy. After seeing a couple of really favorable reviews of The Moon and Anarctica I decided to pick it up when released. My first impression was that it was very good but now it has become one of very few rock albums in the past five years which have earned near non-stop rotation in my CD player. Modest Mouse is one of a very selective group to successfully blend all of the streams for rock's leanings into post-modernism. Basically its clear to that this album stems from the indie scene but has grown to be a bit more well-rounded. There's a lot of Pixies pop-punk present but also a lot of Radiohead or Pink Floyd spaciness. A lot of the lyrics (which are brilliantly nonsensical) even have some kind of space theme going. Producer Brian Deck has done a magnificent job giving the songs an extremely detailed and dense sound while retaining the raw, bleeding, amateurish sound of the band. In the end what makes the album is a strong group of diverse sounding songs that are seamlessly brought together for a nice cohesive listen. Many of the songs feature delicate echoey guitar lines, while others are impressively visceral punk outings. Thrown in occassionally are odd supporting instruments like banjo or violin. The songs are complicated enough to take a bit of getting used to but hold on up for obsessive listening. Modest Mouse are all still in their early to mid-twenties and have substantial room to polish and complete their sound. Given that Moon and Antarctica is a near-masterpiece and my early pick for album of the year. Time to go check out the rest of their catalogue. Highly recommended for those who looking for freshness in their rock."
Not so modest
Matthew D. Mercer | Chicago, IL United States | 07/05/2000
(5 out of 5 stars)
"Modest Mouse has signed with Epic, which has afforded the band to be not half as modest, at least not in studio time and production. Each song on this album is meticulously crafted and tweaked; there is not a track that avoids some post-production manipulation. In this sense the album parallels Radiohead's OK Computer to an extent, but that's where the similarities end. Whereas OK Computer is a massively overproduced (in the best possible way) album, The Moon and Antarctica appears to be less an album of self-indulgence and more a seized opportunity to explore new territory for the band. Isaac Brock's lyrics remain as dry and cynical as ever, while the musical arrangements appear to have opened up a great deal to incorporate more extensive use of the violin and bits and pieces of odd electronic effects. "The Stars Are Projectors" is the album's centerpiece, with its off-kilter arrangement and melancholy lyrics, but there are no real disappointments in the album as a whole, whereas past releases often proved to be more on the hit-or-miss side. Highly recommended, despite any reservations of the band joining the major label playing field."
Takes me to the Moon, a trip I deeply appreciate
meltingyellow | Hawaii | 12/13/2001
(4 out of 5 stars)
"I first heard Modest Mouse from bits of 'Interstate 8' and 'Lonesome Crowded West', and of the three I think I like 'Interstate 8' the best. Not to say that this is a bad album. This is a pretty *great* album actually. After listening to "The Moon & Antarctica," I now consider myself a full-fledged fan.First, Modest Mouse makes very atmospheric music. It's the kind of rock that swallows up your environment and replaces it with a color and shape unique to MM. The world looks different when listening to "Moon.." And that's an awesome feat for any rock band, in my opinion. Rather than adding to the noise pollution, the music offers something worthy of giving it your full attention. It has a different feel, a different air, hence why it "takes me to the moon."Second, the album has musical merit. Some indie rock falls short of showing any songwriting talent, but that isn't the case with MM. The compositions are beautiful, and Isaac Brock's voice, though unconventional sounding, fits surprisingly well into the music scheme. I love the lyrics, too; like the album, they possess their own off-beat poetry.In a nutshell, this album is a soothing concoction of dark, edgy soundscapes. It feins familiarity with its distorted guitar, but once you get in it will take you to a place all its own. Modest Mouse has tapped a new source for poetic rock. For anyone curious to know what that sounds like, I recommend you buy the cd and find out for yourself."
Drifty and surreal...
Kazuo | 04/04/2005
(5 out of 5 stars)
""The Moon & Antarctica", although not Modest Mouse's most accessible album, is definitely their best work, and proof that signing on to a major label doesn't ALWAYS mean that something bad is about to happen (although it usually does...*grumble* ¬.¬).
First off, this album has little in common with the band's other efforts; this one is far more atmospheric and has more of a Radiohead/Pink Floyd influence instead of The Pixies influence of some of their other songs. Most of the anger and frustration from the Lonesome Crowded West is gone, and replaced with a subdued, icy, beautiful mood that stretches over many of the songs.
The Moon & Antarctica is at it's best during it's spaciest, driftiest moments, which can be found on the GORGEOUS, floating, overlapping guitar layers of "Gravity Rides Everything" (the perfect songs to play while watching the moon rise in the evening sky), the simple, raindrop-like acoustic flutters on "Perfect Disguise", the jaw dropping, shape-shifting 9 minute epic "The Stars Are Projectors" (which could very well explain all of existence), and the equally brilliant shapeshifter "Life Like Weeds".
As usual, Modest Mouse's lyrics are nothing short of absolutely stunning; the day I find a band that can top profound statements like "God is a woman, the woman is an animal, the animal is a man, and that's you" or "Was there a need for creation that was hidden in a math equation that asks this: Where do circles begin?" is the day I saw my ears off and stop listening to music (which I assure you isn't anytime soon). This could very easily be seen as a concept album about life, death, existence, religion, and the way the universe works.
Many people say that this album is as good as "OK Computer" in terms of life-changing albums; They don't say that for no reason. Reccomended for anyone who can handle weighty subject matter and equally hypnotic soundscapes to match it."
Seattle meets Oxford
C. E. Morrison | fairfax/harrisonburg, va United States | 06/29/2000
(5 out of 5 stars)
"I bought the new modest mouse CD with some trepidation...lonesome crowded west had been one of my favorite albums of all time and now that mm was fully equipped with a big label, I was ready for disappointment. By the end of 3rd Planet I had fallen in love with the moon and antarctica. Bleak and yet filled with precise dischordance, the moon and antarctica strikes me as being very similar to radiohead's ok computer, from the feeling one gets while listening to it (thom yorke once described okc as sounding like "white" and "breaking glass," very reminiscent of m&a) to the subject matter of the songs. I'm also glad to see that they utilized the violin that made songs like jesus christ is an only child so striking. If radiohead weren't putting out a new album, I would unreservedly call this the best LP of the year."