This is the new year, and I don’t feel any different,” lead singer Benjamin Gibbard states in his typical sensitive, nice-guy voice in the first seconds of Death Cab for Cutie’s latest album “Transatlanticism.”
“Transatlanticism” was released in October of last year. It’s not exactly new, but that doesn’t mean it’s not a great album.
This record is an indie hit that set the band to break to the mainstream of popular music, fueled by such radio-friendly tunes as “The New Year” and “The Sound of Settling.” The band, however, still hasn’t broken in a major way in the more than four months after the album’s release.
The album is quietly introspective, for the most part, and fairly typical of DCfC’s established style. The album also tends to revolve around the theme of long-distance relationships.
This, despite the protest of fans who don’t want to be called emo kids, is an emo album. A great emo album.
DCfC is pushing indie-pop in an emotional, introspective direction with this, and most of their records. The guitars are often sparse, leaving plenty of room for the vocals to take center stage and the rhythm section of Nicholas Harmer and Jason McGerr to support with solid rhythmic work on the drums and bass.
Gibbard’s vocals are doe-eyed, and he makes himself vulnerable in lyrics that deal with failed relationships and the desire to be closer to a significant other in a long-distance relationship.
Chris Walla, who plays guitar and keyboards on the album, stands out in more ways than on his instruments. Walla, in addition to providing spare guitar lines, produced “Transatlanticism.” The production is lush and makes slow songs like “Transatlanticism” and “Tiny Vessels” shimmer with reverb-soaked guitars and drums.
Gibbard’s melodic vocals are excellently recorded and sound unobtrusive, while still standing out. The production and music provide a near-perfect backdrop for the vocals, whether they’re hurting or happy, insightful or expressive.
Some of my favorite moments on the album are when Gibbard and Walla lay down spare piano tracks, a la Ben Folds, on tracks like “Passenger Seat.” The production again gives a lushness to a single piano that is rich, although occasionally overdone on “Transatlanticism.”
Influences seem to range from Ben Folds Five to D.C. punk and hardcore bands like Minor Threat, to Bob Dylan to 80’s soft-pop, to the more obvious influences of Pedro the Lion and Jets to Brazil.
“Transatlanticism” is a diverse album where each individual part is given its own space in the music. Walla ties these parts together masterfully, adding richness and body to the sparse album with his excellent production.
Call me an emo kid if you want, this album rocks.
And don’t forget to check out Ben Gibbard on the Postal Service’s album “Give Up.