Museum Mouth – Alex I Am Nothing

For their third full length, Southport, North Carolina noise pop trio Museum Mouth is getting creative with the “pop” component of their genre.  Rather than wash hazy layers of muffled, chords over their creativity, select notes pierce the fog without eclipsing their fuzzy counterparts.  In fact, Alex I Am Nothing has some of the few noise-related tracks that might even make the cut for a general party playlist. 

Where I once praised Museum Mouth for keeping their songs brief and to the point, they now prove themselves capable of filling a three or four minute runtime with plenty to speak of.  Take the infectious mid-tempo hooks of “Handsome And Boring.”  Without coming across gimmicky, the band actually incorporates clear piano notes amidst the rolling guitar chords composing each chorus.  Such a touch ensures that the songs don’t sound the same track after track like so many noise-based bands (Wavves, I’m looking at you as always).  The same can be said about reduced tempos in songs like “Just Friends,” which come bolstered by segments of guitarist Graham High’s clear notes poking out from a rumbling bass groove.  Speaking of which, Museum Mouth remains adept at slowing their pace (“If I Were Smarter” is a great late album intermission) without becoming grungy – even with explicit lyrical references to Radiohead’s OK Computer.  Regardless of subtlety, each song benefits from a unique pop element.

Of particular note, noise-punk doesn’t typically come across as particularly anthemic or emotional, but “Saltwater” unexpectedly achieves both.  Like a post-punk troubadour, Karl Kuehn’s wavering vocals bare a close look into the soul.  Kuehn eloquently describes the feelings of the emotionally distraught:  “because the fact of the matter is you and I are clearly both deprived, and though we’re flawed we’re not the same, if I’m the idiot I think you’re insane.”  Where most noise acts hide behind the fuzz as an excuse to keep their lyrics idle and uncreative, Museum Mouth maintains engagement even if listeners will need to consult the lyric sheet to get a clear picture.

As for weaknesses, Alex I Am Nothing starts off fairly predictably before turning into the remarkable disc described above.  “Alex Impulse” and “Drool” will mistakenly give listeners an unrepresentative first impression before tickling their curiosity with “Strange.”  The tracks may lure in unassuming noise enthusiasts and lead them to the deserving pot of gold, but for the rest of us, the album starts in earnest three tracks in. 

Whereas many noise bands limit themselves for the sake of genre “purity,” Alex I Am Nothing demonstrates Museum Mouth’s evolving creativity.  The trio is good at conventional noise-pop, but great at pushing the envelope of tempos and incorporating elements of varying instrumental clarity.  Such a willingness to experiment will inevitably broaden Museum Mouth’s appeal from analogue garage junkies to other niches spanning the indie underground.