3 songs in, it's pretty great from a songwriters perspective.
|
| |
loving the a capella intro
|
| |
man crush
|
| |
that picture of ben screams 'berries and cream lad'
|
| |
I'm assuming this will be heavily post-Deschanel inspired. Sounds good so far
|
| |
what a disgusting looking man
|
| |
All sounds pretty standard-fare on first listen.
|
| |
so disappointed. that intro was fucking horrendous. i'm not sure why i thought it wouldn't suck given the last death cab album, but when i heard some of the songs were older i was really hoping for something like we have the facts or transatlanticism. hopefully the next death cab album is good.
|
| |
Really happy with this actually. Much better than Codes And Keys, and pretty diverse all the way through. His voice only gets better with each record too. Definitely made me even more exited to see him on tour in November.
|
| |
his voice is "better" in a technical sense, but i actually prefer his vocals on the older death cab albums.
|
| |
yo this album is actually really good
|
| |
Well I love the older Death Cab records too, believe me, but I think Ben is pretty good about refining his voice and keeping it pretty emotional. Plus he's a lot more confident about adding in vocal harmonies now and that's added so much to the music, especially on this record (Duncan Where Are You wouldn't be the same if a younger Gibbard approached it).
If you're looking for old Death Cab you'll be disappointed, probably forever. I can't see them ever going back to that.
|
| |
the vocal harmonies on duncan where are you were so cheesy though. that's what i don't like about his voice on here and on the last couple death cab records as well (although to a lesser extent)... his voice just sounds too cheesy and theatrical, whereas he sounded much more honest before. at this point i'd be happy with another plans even.
|
| |
what a creepy fuck
|
| |
this man failed to please zooey
|
| |