Death Cab for Cutie - Transatlanticism
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Free Music Notes for Transatlanticism
Free Music Review: I like the bird
Hit: 5 Stars
The title track, "translaticism," was played on piano repeatedly by a guy I know in my dorm at college. The first thought that crept into my mind was, "who is this guy and how does he know so much about my life?" Thinking it was an origional composition, I complimented him on it. But he was only the messanger. The song was by a new album (at that time) from this band death cab for cutie, who I had heard of from time to time but never really checked out.
What what I did, I let curiosity take over me and bought the cd (because I didn't have iTunes at the time and couldn't get it from him). After picking out the song I was looking for on the album while in rotation in my car, I discovered that not only did I get my money's worth for one song, but for, get this, even better songs on the disc.
So what is this album? Who are these guys? I think one review called this cd a "relationship catalog" or something, and persoally, I don't think Gene Shallat (spelling, whatever) could have said it better if he reviewed cds. Now, when relationships get the best of me, I have always gone straight to indie rock for music choice. This cd gives me no reason to quit this ritual. Where else would I go? Good Charlot?(grimmace). I've never heard any of their other cds, but I don't see why this wouldn't be a good place to start with them. It worked for me. It's nothing that is going to start a musical revolution, get indie rock a medi focus, or even get recognition a 50 years from now, but in "transatlanticism," there are pleasing indie rock, or just alternative, tunes that could please the ears of any lovesick listener.
Free Music Review: This is a great record.
Hit: 5 Stars
It has been years since a band has grabbed me as much as Death Cab for Cutie. They seem to be just on the edge of greatness, not a familiar--or perhaps even desirable--place for a band that has perfected itself over the past few years deep within the murky realms of Indie. Their name alone is offputting, and yet beguiling, as is DCFC itself. Transatlanticism is a great, great record. It has what all good, and great art has: true feeling, and originality. As well as tenderness, and bitterness; humor, and most importantly, honesty. Chris Walla's production is magnificent, particularly with the percussion. (The drumming is incredible.) But it's the songwriting--and the singing!--that shines best. In an odd way, Ben Gibbard reminds me of the great Canadian 70's songwriters, like Joni Mitchell and Leonard Cohen. (It's no accident that he lists The Beatles as one of his influences.) "Passenger Seat" is easily one of the most compelling ballads of the past ten years. It's simple yet haunting, then reminiscent, and thankful. Yet it is far from maudlin. It is that other word: mature. One can only pray Gibbard keeps on pushing the envelope within and without. He's one of those rare creatures in today's overhyped and over-sold world: a real artist. This is not to sell short the rest of the band, without whom Gibbard wouldn't sound half as good. They are tight and intuitive. In another word: tasteful. Here's hoping Death Cab have the strength and desire to take themselves higher, even if it does mean testing the commercial marketplace. They are that good a band. They deserve all the recognition, even fame, they want.Free Music Review: Hooray For Ben!
Hit: 5 Stars
The Photo Album strangely got a chilly reception from many critics. It wasn't as good as We Have The Facts..., now known as DCFC's peak by many, but it was excellent nonetheless. If anything, it hinted that Ben Gibbard was moving towards a somewhat louder, poppy post-punk sound and moving away from the slower, quieter indie pop of We Have The Facts. This rubbed many a critic and some fans the wrong way, although the album contained some of the best DCFC moments thus far. So where does Ben go next? On Transatlanticism, Mr. Gibbard seems to combine the best elements of We Have The Facts and The Photo Album to create an epic, brilliant indie pop album that could easily be one of the year's 10 best albums. The loud guitars occur with frequency as evidenced by "The New Year," "Tiny Vessels," and "Expo '86," but he reaches back into the comptemplative mode of We Have The Facts, this time making the tracks more surreal and pretty. "Lightness" and "Title And Registration" are gems, while the piano ballad "Passenger Seat" is a interesting, and welcome, change of pace. The ending section of "We Looked Like Giants" is very representative of the airy, almost shoegazer-style tone presented in the album, something which he sort of experimented with on The Photo Album, but didn't pull off as successfully. The title track is the centerpiece, and perhaps the high point: about 8 minutes of bliss that build up into a credible peak with a section sung by "The Barsuk Men's Choir." Those disappointed by The Photo Album should have your faith in DCFC revived.Free Music Review: Great Album!
Hit: 5 Stars
This album is certainly a little different than the previous DCFC albums. However, it is by no means worse. Ben Gibbard's lyrics have reached an all time best and the production quality is amazing. The guitar is very melodic. Here's my take on the songs:New Year (9/10) This song is a great opener. The lyrics are catchy. You will be singing it.
Lightness (6/10) This song is OK. It doesn't strike me as anythign great, but after listening to it a few times, i started to like it. Still a good song.
Title and Registration (10/10) Probably my favorite track. Unique upbeat style and awesome lyrics.
Expo '86 (9/10) Another really catchy song. One of the best.
Sound of Settling (8/10) Another great song, very catchy (as with just about all the songs on this cd).
Tiny Vessels (8/10) VERY melodic guitar, you will love it.
Transatlanticism (7/10) title track. long and quite, but builds up. its a good song but may be an aquired taste for some.
Passenger Seat (10/10) this song gets a 10 for being the prettiest song ever made.
Death of an Interior Decorator (5/10) my least fav song on cd. its ok.
We Looked Like Giants (10/10) SICK song. enough said. my fav right off the bat
A Lack of Color (8/10) this song is a good end. its style is very similar to that of some of the older albums.
Overall, this album is great. I don't know how anyone could rate it so low as some have. My only gripe with it is that the lyrics are all pretty emotional and girl-related, moreso than in previous albums. You WILL be amazed at how awesome the lyrics are tho. Amazed.
Free Music Review: My Favorite DCFC so far...
Hit: 5 Stars
This is definitely an album that has been getting a lot of mixed reactions, mostly based on people's past experiences with the band. Those who have been following Death Cab since the very beginning seem to be somewhat turned off by the obvious influence that The Postal Service has had on this record. I personally though, don't have a problem with the small changes that the band has undergone and feel that the same DCFC sound still resonates strong enough to make this a great release. It's soft and mellow and intelligent and is everything that mainstream "soft" groups such as Dashboard Confessional aren't. There are many tracks that have a pop-edge to them such as "Expo '86" and "The Sound Of Settling", which are expertly done and are catchy and infectuous. In my opinion however it's the more poignant quiet moments that make this release so impressive. Tracks like "Tiny Vessels", "Transatlanticism", and "A Lack of Color" are all brilliantly executed piano-laden tracks that are extremely powerful. My favorite though (which goes against just about everything I've read on here so far) is "Title and Registration." I absolutely can't get enough of the bouncing tune and find myself listening to it over and over again. It's completely addictive.
In closing, this is a tremendous release. I have loved all of Death Cab's other albums and this is one is no different. Give it a chance, go in with an open mind, and you'll surely find something new that you can't get enough of.