The Good Night by Victory At Sea (Review)

While I was the music director at a radio station in the Midwest, my musical tastes were still rapidly evolving. I first started there in the fall of 2001 and my favorite artists were nothing of what they are today. I mainly listened to punk and ska, and I had just begun venturing into the untamed and untouched regions of the “underground” realm.

That fall, Victory at Sea’s Carousel came out and I thought little of it as I did with the rest of the albums that didn’t instantly appeal to me. Now, I wish I could go back and tell my old self to open my ears and appreciate different sounds, but alas my time travel device is still not complete.

With Mona Elliot’s monotone, irregular, pretty, and (at times) tortured vocals, along with the band’s odd time signatures and song structures, Carousel had all the parts to maintain a solid spot in my top 30. However, it never even saw medium rotation. Later, I finally began to enjoy it and I enjoy it still today.

Now Victory at Sea has released another full-length, this one titled The Good Night. I do not like this album as much. The songs are just not as interesting to me with Elliot’s wails existing somewhere between Kelly Deal’s heroin-drenched moans and Mates of State’s suddenly shifting tones.

It could be that Victory at Sea’s music simply doesn’t lend it itself well to being timeless or inventive enough to make a person want to buy all of their albums. Rather, it’s more likely that purchasing one will suffice. If I were to make a recommendation for Victory at Sea, I’d go with Carousel and appreciate it for what it is, nicely done indie rock with unique vocals and strange tempos.

Written by Jeffrey Ellinger.