Everybody has
those albums. The ones where they can recall every chord, every lyric, every drumbeat, every bass hook and every orchestration. Now, for me, this isn't one of them, but Death Cab for Cutie did make an album that is one. They created
The Photo Album, one of my all time favorites. It's beauty and elegence are just phenomenal are so far unmatched by a Death Cab album yet and since. But, this isn't the album we're reviewing here. We're reviewing their second classic, 2003's
Transatlanticism. Though often under-rated and ignored, most people do not realize that this album is a very important album, especially at this time. It shines a light through pop-punk and britpop bands, while really relating to a large mass of the public. It's beauty can be enjoyed endlessly, for all I know. This album was among ten albums on Spin's
100 Best Albums of the Last 20 Years' sub-list
Ten Albums That May Stand the Test Of Time, clocking in at number 3. But enough useless facts, onto the album itself.
Death Cab for Cutie: Transatlanticism
The Players:
Benjamin Gibbard: Vocals, guitar, piano
Christopher Walla: Guitar, vocals, piano
Nicholas Harmer: Bass, vocals
Jason McGerr: Drums, Percussion
This is a brilliant album. 'Nuff said. There are some of the best songwriting that Death Cab's come up with yet. It showcases the epics (
Transatlanticism), it boasts the enjoyable simplicity (
Expo '86,
The Sound of Settling)), and as well as dark, solemn, and catchy tunes that make a darker twist to the album (
Title and Registration,
Tiny Vessels,
We Looked Like Giants). There are few tracks that would rank under a four here, but they are also equally enjoyable and aren't necessarily and worst than the others, but they just fail to amaze as easily. On tracks such as
The Sound of Settling and
The New Year they showcase the poppiness that was the driving force of their earlier albums, but also make them more elegent and enjoyable than ever before. But there is a rather darker aura to the lyrics, like on
The New Year, you hear Benjamin Gibbard protest the fact that a new year is moving on, and pointing out that there is no difference. And though over quick,
The Sound of Settling is also fairly sad. Benjamin exclaims that old age is just around the bend, and that he can't wait to turn grey. Though sung rather happy, lyrics like these give this album an aura of sadder topics, like mortality and ending love as heard on
Tiny Vessels, the most depressing song on here. Here, there is a more musically solemn performance by the band, featuring a mourning guitar riff, echoing piano and rhythm sections, and sad vocals to compliment the depressing lyrics that speak of a love that "vile" and "cheap". This is really an exceptional song, especially with the chorus with distorion, harder rhythm sections and less fearful vocals proclaming Gibbard "wanted to believe in all the words that I was speaking, as we moved together into the dark.". Ending as softly as it came, there goes one of the album's milestones as we know it. Quickly followed by the eight-minute epic
Transatlanticism, sporting soft percussion, trudging piano, epic-sounding guitar featuring an instantly lovable riff, and a strong vocal performance. Another sad but glorious song, but with the continuance of the quiet, mournful sound that occupies only parts of the other songs on the album. This song carries the torch to one of the best repeating lines I've ever heard and constantly haunt me, "I need you so much closer...". And as softly and as brilliantly as it came, it's gone with such an impact that you can only close your eyes take a deep breath. It's purely brilliant.
The more poppy songs are enjoyable, to say the least. On the opener,
The New Year, sporting explosive chords over top of some of the best rhythm parts on the album. The chorus isn't as good, but it's also enjoyable with simple chords and a fast-paced vocal performance erupting into some inquisitive lyrics about flat-worlds and the like. A great song that sports some of the happier moments on the album, something that we need to make this album just perfect. Another one of the softer songs is
Lightness featuring the catchiest vocals on the album. A rather mellow musical performance is made interesting by varied bass effects, until it goes into a more musical performance with the whole band supporting the song, complete with nice chords, fantastically simple drums and an overall mellow vocal performance, sporting the catchy "oh-Woah-hoa" that practically carries this song. Another notable slow song
Expo '86 is the poppiest of the bunch, with a childish (that's the only word I could come up with here) guitar riff with vocals with the same deal, until the chorus comes along and features power chords and a better vocal performance. The album isn't that complex, yet it's just as fun to listen to as the others. With an enjoyable chorus, an instrumental bridge, and the ending featuring the opening riff, this song leaves it's mark as a more fun, simplistic song than the others on this album.
Other songs are as important, too. The third best song on the album is the purely epic
We Looked Like Giants, a more fast paced, but no less grand song sporting a great guitar riff that has a major impact on the overall feel of the song. Also featuring the best drum work on the album, and some great lyrics about the troubles of lost youth, and how to manage it. A great, medium-paced chorus and a bridge also compliment this song, and after a rather lengthy lull, it ends with a bang. Definitley a milestone song for the album, and a great musical performance to boot. Afterwards is an acoustic song. The finale
A Lack of Color features a beautiful acoustic riff with lurching piano lacing through it. A terrific vocal performance compliments it, while the music itself embraces the vocals. Not much else can be said, except haunting, inspiring a silence among listeners, as they feel the pain of Benjamin Gibbard. The perfect ending.
Overall, this is a fantastic album. It's my favorite album of 2003, and possibly one of the greatest indie releases of the 21st century, though not often thought of as a classic. This album has no bad songs, but some songs are more ignorable than others, and meanwhile some get off to a really slow start and take a little while to catch on. This is a definite buy if you like Death Cab, indie, sad/mournful music, happy/fun music, and if you like excellent music that inspires thinking. In shorter words, buy it. You will like it.
Thanks for reading,
AV8RS
