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Death Cab For Cutie, "Transatlanticism"
Barsuk
No doubt partially influenced by Benjamin Gibbard's work in the Postal Service, Transatlanticismshows off a denser, darker, and here and there more electronic DeathCab for Cutie than ever before. That's just the start of the changes,however, as their fourth album feels like a complete renovation oftheir familiar emo-tinged sound. Gibbard's voice is almostunrecognizable for most of the opening cut "The New Year" until,towards the end, his familiar whine breaks through. Then out of thepower of that track, the lamb emerges on "Lightness," and it's clearthat DCFC have an agenda: to prove that they can evolve. They've done afine job of it. Gone is the youthful idealism and the struggle of thoseviews; replacing it is an existentialism and an acceptance of some ofthe wrongs that everyone knows exist but are afraid to say. There arecracks in the veneer that need exposing, from the mundane matter offinding photos of an old love in the glove compartment to recognizing afling for what it is and letting it go. The record bounces around fromthought to thought as though these were all memories and thoughts thatshould have been left behind. DCFC faces it head on, bravely moldingtheir sound around these schizophrenic thoughts. Chris Walla'sproduction work also takes a leap forward, with the songs soundingclearer and crisper all around, and Gibbard's voice has never soundedso pure. There is a new power, a new clarity, and a new attack in theband that doesn't sound forced as it did on certain songs on The Photo Album,and there are no awkward moments. Even when things are slowed down orcalmer in delivery there is an energy crackling beneath the surface,waiting to surge. It's not always a smooth and easy ride for DCFC'slatest, but it's still a nice trip all the way down.
No doubt partially influenced by Benjamin Gibbard's work in the Postal Service, Transatlanticismshows off a denser, darker, and here and there more electronic DeathCab for Cutie than ever before. That's just the start of the changes,however, as their fourth album feels like a complete renovation oftheir familiar emo-tinged sound. Gibbard's voice is almostunrecognizable for most of the opening cut "The New Year" until,towards the end, his familiar whine breaks through. Then out of thepower of that track, the lamb emerges on "Lightness," and it's clearthat DCFC have an agenda: to prove that they can evolve. They've done afine job of it. Gone is the youthful idealism and the struggle of thoseviews; replacing it is an existentialism and an acceptance of some ofthe wrongs that everyone knows exist but are afraid to say. There arecracks in the veneer that need exposing, from the mundane matter offinding photos of an old love in the glove compartment to recognizing afling for what it is and letting it go. The record bounces around fromthought to thought as though these were all memories and thoughts thatshould have been left behind. DCFC faces it head on, bravely moldingtheir sound around these schizophrenic thoughts. Chris Walla'sproduction work also takes a leap forward, with the songs soundingclearer and crisper all around, and Gibbard's voice has never soundedso pure. There is a new power, a new clarity, and a new attack in theband that doesn't sound forced as it did on certain songs on The Photo Album,and there are no awkward moments. Even when things are slowed down orcalmer in delivery there is an energy crackling beneath the surface,waiting to surge. It's not always a smooth and easy ride for DCFC'slatest, but it's still a nice trip all the way down.samples:
