Album #81 : Modest Mouse - This Is A Long Drive for Someone with Nothing to Think About

Modest Mouse

This Is A Long Drive for Someone with Nothing to Think About (1996)

Modest Mouse have built for themselves a reputation as one of indie's best, most underrated bands, in my view. Over the journey their brand of guitar-driven indie has undergone mild changes and evolutions; at one point, they even counted Smiths guitar god Johnny Marr as a member of the band.

For today's review, however, we go all the way back to 1996, and their debut LP, which is an early contender for longest titled album on The LOAD Project (especially since having already reviewed Electric Six's Fire means I won't be reviewing their splendidly titled album I Shall Exterminate Everything Around Me that Prevents Me From Being The Master). It continues the March theme of listening to albums to satisfy my long held curiosity.

The Album

Mildly self-indulgent, probably too long, raw, rough and unorthodox - yep, this album is indie rock debut albums to a T. I don't use the term self-indulgent as a pejorative; indeed, I enjoyed listening to a group find their feet and just explore the musical process. According to the album's Wikipedia page (I know, unreliable and user-edited etc etc) it partly explores the 'loneliness and isolation of rural life' as well as 'driving in an automobile'.

If that is true, it would explain perfectly the album's melancholy vibe and the numbingly boring go-nowhere aspect of some of the songs. Perhaps that lack of knowing when to end a song before it outstays its welcome is also a sign of the group's immaturity.

Another word I would use to describe this album is 'inconsistent'. For every great song, there's a not-so-great one. The frantic, energising filthy guitar of Head South, the calming, rarely glimpsed beauty of Talking Shit About A Pretty Sunset and the feedback-laden, abrasively edgy guitar histrionics of Exit Does Not Exist are counteracted by terminally bland dirges such as Lounge, Breakthrough and Beach Side Property. Other tracks, such as the exciting-but-too-short Might and opener Dramamine, with its sharp drumwork from the impressive Jeremiah Green, are tasters of potential but ultimately are left unfulfilled.

A credit to the band is the clever use of cellos, however. Where used, it gives the sound a depth that it otherwise would have lacked. It's never overbearing, and only once does it have that early ELO timbre of being too deep and booming for its own good. Another sidenote of interest is the album's producer Steve Wold, who contributes a few instruments on the album, notably a mandolin to Make Everyone Happy/Mechanical Birds. Wold would, ten or so years later, achieve great fame himself as a musician.....in the guise of world-weary bluesman, Seasick Steve.

Despite its inconsistency and its frequent pointlessness, the potential of the band was clear to see here. Isaac Brock is a clever, energetic guitarist who plays like he is wringing the neck of his axe, and drummer Jeremiah Green displays some real chops, especially when the aggression is turned up and he can load up on booming, rapid fire fills. He also displays a love of the disco-style speedy hi-hat beat. There's no shortage of jangly indie riffs here, and the occasionally warbly and whiny vocals, while sometimes annoying, are a hallmark of the band's future work.

The Verdict

This Is A Long Drive.....isn't bad. It's a fairly middle of the road album because of its inconsistency. There are better Modest Mouse albums out there, especially if you're unfamiliar with the band and wanting to explore their work. There are great moments on here, but they're a bit too few and far between.

My rating: ***

Standout Tracks

Talking Shit About A Pretty Sunset

Head South

Exit Does Not Exist

The next album up for review is an iconic album by an 80s pop superstar.