We Were Dead Before the Ship Even Sank
Epic / Release date: March 20
Sounds like: Talking Heads meets the ... Trail of Dead
Short take: Former indie act keeps cred
Modest Mouse finally escaped its obscure alt-rock act orbit with the release of the popular Good News For People Who Love Bad News. While the single "Float On" was the Washington band's first foray into the Top 40, the rest of the 2004 album was filled with more misses than hits. Three years later, Modest Mouse is back with We Were Dead Before the Ship Even Sank , which is arguably its most focused album to date. Singer-guitarist Isaac Brock's vocal eccentricities finally match the band's musical output, with the alluring "People as Places as People" and the epic "Spitting Venom" standing out. In particular, the latter track's guitar-jam coda is something special. There's no doubt Modest Mouse finds new life on this 14-track thinking- person's album. John Benson
Pocket Symphony
Astralwerks
Sounds like: Stereolab meets Thievery Corporation, spiked with Kruder & Dorfmeister
Short take: Great to zone out to
Following up on their eversweet Talkie Walkie album from 2004, the inventive French duo, Air, returns with another atmospheric, largely instrumental record. And Pocket Symphony is dreamy, somber and beautiful. Along with Jean-Benoit Dunckel and Nicolas Godin's standard whispery harmonizings, guest vocalists Jarvis Cocker and Neil Hannon blend seamlessly into the music's ether. Additional cheers belong to Godin for spending some of his time between albums learning classical Japanese instruments that lend a fun, harp-like accent to many tracks' piano meanderings. Sure, this album ain't no Moon Safari (1998), but songs like "Once Upon a Time" reveal the band at the apex of its craft, still. Matthew Schniper
MTV Unplugged
Virgin
Sounds like: Korn channels Radiohead when issues come undone
Short take: Keen songwriting means unplugged train wreck diverted
There's just something wrong with "Korn" and "unplugged" being mentioned in the same breath. But the success of any unplugged effort always comes down to one thing: songwriting. And as Korn fans know, this band has consistently transcended the banal din of its peers for over a decade. Unplugged works, with strings and heavy percussion picking up the slack. Fan favorites "Blind" and "Falling Away From Me" are keepers, but the unexpected cover of Radiohead's "Creep" complete with a falsetto Davis, singing in a kilt singlehandedly encapsulates Korn's despondent insecurities and outsider ethos. Invariably, the album isn't as much of a converter as it is a gift to the group's loyal following. John Benson
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