Thursday, June 13, 2013

Transatlanticism by Death Cab for Cutie (2003, Barsuk Records)



WHY I NEVER GOT AROUND TO LISTENING TO THIS ARTIST/ALBUM

  • I first heard of Death Cab for Cutie from my friend and indie-rock aficionado Diego Castillo while I was visiting Manila, Philippines in early 2002. And with all due respect to Diego and all the indie-rock kids that I know and love from around the world, I have an aversion towards indie-rock (note the hyphen in indie-rock, not to be mistaken for indie rock, which is short for independent rock, meaning rock bands that aren't signed to a major record label). I find many of the indie-rock bands of the last three decades to be devoid of any excitement, soul, or sexuality. And I need at least one of these things to give me a reason to listen to a band/record on regular basis.
  • That awful band name, which was taken from a song by the 1960s avant-garde, art-jazz band Bonzo Dog Doo-Dah Band. As far as I'm concerned, if anyone chooses to use the word death in their name, they had better be a grindcore band, a stoner-rock band, or a gangsta rapper. And, perhaps most importantly: I refuse to listen to anyone who would even consider putting the word cutie in their band name. Period.

WHAT I KNEW ABOUT THE ALBUM BEFORE THIS PROJECT

  • Every indie-rock kid I knew at the time loved it.

AFTER A WEEK OF DIGESTING THIS ALBUM

  • There is nothing really exciting or sexual about the album, but that does not mean it is not a soulful record. There is a high level of musicianship and intelligence, and the music's vastness makes Transatlanticism a cohesive album. The songwriting is earnest and heart-felt, with the lyrics painting pictures and the dynamics serving as their canvasses.
  • I found it difficult to get through the first few listens without wanting to take a shitload of Valium and hide in my basement, mostly because of Ben Gibbard's vocal delivery. While I did have this same kind of initial reaction after listening to albums by Elliott Smith and Nick Drake, Transatlanticism did not grow on me the way Smith and Drake's recordings eventually did.
  • So, is this a decent album? Yes it is. Does it make want to listen to another Death Cab for Cutie album? No, not really.


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