The Golden Casket Reviewed
You are probably reading this because you are a fan of Modest Mouse, so you will understand the mixed feelings present each time a new release sees the light of day. The Golden Casket was ready to be released right after Strangers To Ourselves according to Isaac Brock, and here it is six years later.
Let's get one thing out of the way before I dig into this latest offering; there will ALWAYS be fans that don't like the latest work from any artist. I'm sure Stephen King hears criticism for every new book he writes because it isn't The Stand or The Dark Tower. Think for a moment why you like any band. You probably heard something that caught your attention and then started digging deeper. The very fact that it caught your attention is because it had elements you liked. You're then comparing everything else ever released by that band to the sound you first loved. Well, after 25 years, you can expect a sound to change. You might love it, or hate it, but most bands will ultimately change.
With Modest Mouse, the first three albums changed the way I appreciate music. I love all the harmonic contortions, the aggression, the dark humor, and the guitar heroics. I consider Long Drive, Lonesome Crowded West and The Moon & Antarctica the three best albums in the history of music. However, I love everything that Modest Mouse has produced since, even though it has gradually moved away from that sound. I hope that anyone listening to the band after 25 years can appreciate what is being produced now.
Whenever there is a new album, I'm terrified. I don't want to see a torrent of abuse from casual fans and non-musicians to discourage Isaac Brock from continuing to produce music that I love. It must be soul-destroying to work on something for years and to hear it dismissed as weak or irrelevant. I'm happy to say that Modest Mouse never disappoint me, and that The Golden Casket is better than I ever imagined it could be. Let me explain why.
The album has a different sound to previous releases. There are fewer personnel, but the sound is even denser. It will be interesting to see how that translates during a live show. Although I am never depressed by sadness, despair or cynicism in music, there is a warmth and optimism on this album that draws me in. Isaac is clearly happier in his life and he's seeing things differently because of his children and the stability he has found.
I'll go track-by-track:
Fuck Your Acid Trip
Isaac describes this as fun and a light way to start the album. I have to agree. I heard the album an hour after release last night, sitting in the dark. I'm now on my third listen as I write this. The vocals and the drums relentlessly drive this one. It feels like I'm racing down a dark street on the start of a journey. The vocals fit the music more than in most Modest Mouse songs and electronic sounds are more prominent than on almost anything else I can remember from the band.
We Are Between
As the first song released from the album, this already sounds like an old favorite. It's even been played live on Fallon. The guitar is way more conventional than in the past and the opening chords almost sound like Springsteen, but it soon becomes unmistakable Modest Mouse. The lyrics revisit the themes from The Stars Are Projectors, but they have evolved. Isaac is now happy with his little place in the universe. There is a touch of realism in the lyrics though, so Isaac is still the person we all know. The guitars are immense, but work more as a unit than before. It's pretty funky in places like a Talking Heads vibe. The song has a clear chorus and follows an accessible structure that a lot of new fans might like. I love the way the vocals combine to end the song.
We're Lucky
This feels like a companion piece to the previous track, but it's as gentle as something like Autumn Beds. Isaac sounds relaxed and contemplative. I especially like the vocal delivery. He has a way of pouring out words but somehow arranging them so that it works. It feels inevitable and his cadence just makes everything flow perfectly. There's quite a dense sound from the supporting instruments.
Walking And Running
And the dream is shattered. In stark contrast to the previous song, this one jumps right in and gets you moving. The opening sounds like something that The Prodigy or Earthling-era Bowie might have produced. The vocals and the staccato arrangement are incredible and some of Isaac's unique style starts to shine through. It's King Rat on speed, but without the anger. It feels like a song that's twice the length, but it packs so much into three minutes. Guitars and drums start to go crazy in the second half of the song. It leaves me wanting more.
Wooden Soldiers
This has a Bukowski feel to it, but with guitar instead of banjo. The lyrics might be commenting on his life, his career, or both.
These fuckers wanted guilt, they tore me down and I rebuilt
Much better, oh much better than before
Much better, oh much better than before
There's a wistful quality to this song, and it wouldn't be out of place as an Ugly Casanova song. There's even a steel guitar segment in the background. The arrangement on this song is almost orchestral.
Transmitting Receiving
We are close to Interpol territory for the opening of this song. The lyrics are a stream of consciousness tumble of images. I can imagine this gripping the audience when it is played live. It's part dream, part observation. Isaac's voice is again wistful and mellow. The steel guitar makes another appearance and it feels like Diggin' Holes. That said, the overall sound is not something I have heard from Modest Mouse before. I like it a lot.
The Sun Hasn't Left
Isaac had the following to say about why he wrote this song:
That one kind of culminated because of the riots going on at the same time as a pandemic and the fucking sky was blacked out basically for parts of the days from forest fires and shit up here in Portland. I had to write that song. For no other reason, as a reminder. I saw a lot of people I knew really, really get pretty fucking bummed out and I felt like I needed to say something encouraging.
Isaac's vocals are on top form again and everything sounds optimistic. It shimmers and shines. There's a few little instrumental touches that feel like Grandaddy, with a clockwork carnival atmosphere.
Lace Your Shoes
If you needed any proof that Isaac's mind is in a different place, this gentle and beautiful song gives you all the evidence that you were looking for. His children get a mention and set the tone for the whole song. Are you missing the guitar heroics and banjo, or are you on board with this new direction? I feel like I am standing in a dark field looking up at the night sky and everything seems enormous.
Never Fuck A Spider On The Fly
This is a rant about media/social media trolls intent on making everything negative. This album is as catchy as any Modest Mouse I have ever heard. Even a rant is something that you can sing along to. There are more vocal harmonies than I am used to as well.
Leave A Light On
I wasn't hooked on this when I first heard it, but I love it now. I can't imagine why it didn't immediately hit me as hard as it does now. The lyrics paint a great picture, but the accessible structure is there again. The instruments bubbling away in the background add extra texture to the sound. It's another positive and hopeful song.
Japanese Trees
Ah, more Interpol at the start of this track; then it transitions into blatant Isaac vocals. I like the urgency and tempo. It all feels very compelling.
Back To The Middle
I keep mentioning Interpol, but I hear it again in this last song. The guitars are triumphant and uplifting, but it's very much a chorus of guitars rather than Isaac playing alone. This is quite a departure. It feels like the right song on which to end the album.
My first (or third) impressions are all extremely positive. I am very happy with how all this turned out. I'm curious to see how it works live on some of the songs, but it will be great to hear 12 new songs on the next tour. I'm a bit surprised that Ice Cream Party didn't appear on the album and has only had a digital release so far, but I don't think this album has a single weak song. It's a good way to spend 50 minutes and I'll probably be doing that every week for the rest of my life, along with all of the previous releases.
This change in sound could earn the band a lot of new fans if people give it a chance. I doubt it will lose many that have stuck with Modest Mouse for the past 25 years.
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