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No More Stories...

[Sony BMG; 2009]

By ; September 1, 2009 

Purchase at: Insound (Vinyl) | Amazon (MP3 & CD) | iTunes | MOG

One of the cardinal rules of 21st-century alternative rock is that if Trent Reznor thinks something is good, it’s probably a good idea to listen to him. From TV on the Radio to LCD Soundsystem to Deerhunter, Reznor has a knack for picking opening acts that don’t necessarily sound like Nine Inch Nails but that do share Reznor’s creative spirit. The third major-label album from Danish art-rockers Mew, No More Stories are Told Today/I’m Sorry/They Washed Away//No More Stories/The World is Grey/I’m Tired/Let’s Wash Away, drops just as the band is set to open some of Reznor’s final club gigs. And since these shows are highly publicized and anticipated, Mew picked the perfect time to record their strongest and most mature effort to date.

All throughout No More Stories, Jonas Bjerre, Bo Madsen, and Silas Jorgensen are completely assured in every musical turn they try. It’s a dense, layered record, but even on the earlier listens before the songs themselves sink in, it is never a difficult listen. Much like the best ‘70s prog rock, No More Stories is challenging but also highly accessible. These songs contain references to all eras of progressive rock, from the jazzy intricacies of “Introducing Palace Players” (reminiscent of Relayer-era Yes) to Bjerre’s My Bloody Valentine-esque, reverb-drenched vocals on several tracks. “Tricks of the Trade” has an undeniable Depeche Mode bounce, and “Silas and the Magic Car” is a vintage Radiohead ballad.

The songs float along and twist around each other almost like a darker, weirder Siamese Dream, never sacrificing melody for experimentation. No More Stories is an album that unfolds gradually, with perfect pacing, tight arrangements, and songs that reveal their true beauty over several listens. Paradoxically, it is an album that makes you simultaneously wonder how they managed to get signed to a major label and why they aren’t more well known than they are.


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