Death Cab for Cutie: Transatlanticism : CD

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Transatlanticism (CD)

Death Cab for Cutie

[Cover]

Label: Barsuk Released: 2003
Price: $12.99

Their fourth studio album blends subtle songwriting, amazing production, boundless creativity, and thoughtful rock. Highly recommended. "No two songs on 'Transatlanticism' are alike. 'Tiny Vessels' is a gorgeous ballad with a John Lennon-like modulation, 'Expo '86' a catchy if peculiar singsong, and 'The New Year' a glorious piece of rock embossed with sheets of guitars and driven by Mr. McGerr's drumming and a deft bridge. With his words, Mr. Gibbard transports his songs into environments that seem commonplace and yet extraordinary, and his lonely heart bleeds with simple, sometimes startling eloquence. There's little doubt he believes life should, and perhaps does, offer more than what he's seen." --Wall of Sound

Tracklisting
Disk \| 1
1	New Year
2	Lightness
3	Title and Registration
4	Expo '86
5	Sound of Settling
6	Tiny Vessels
7	Transatlanticism
8	Passenger Seat
9	Death of an Interior Decorator
10	We Looked Like Giants
11	Lack of Color

User Reviews

	Jon Davis - Garden Grove, CA, USA
Even with the enormous success of DCFC's most recent album ('Plans', 2005), 'Transatlanticism'(2003) still remains the most quintessentially ''Death Cab'' of their albums to date. Containing both their signature song, ''Title and Rgistration'' and their anthem ''Transatlanticism'', both crowd favorites that simutaniously capture and embody the sound that is Death Cab For Cutie. ''Plans'' is an amazing album in its own right, but ''Trans..'' is where soul truly meets body for Death Cab for Cutie.
	Jess Singer - West Bloomfield, MI, United States
Earphones in place. Eyes closed. Time drifting in and out like waves washing over a moonlight beach. This dream-like state Death Cab for Cutie has instilled in listeners alike is nothing new for the four member crew. With lyrics so moving and beautiful, one can't help but to be swept away in front man Ben Gibbard's musical soul. Song lyrics written by Gibbard often carry their listeners through quiet, still mornings and provide guidance through difficult times of a relationship. Death Cab dresses up post-relationship fallout with intricate, and at times, intense melodies. This being the group's fourth LP released in 2003, they have attracted a well devoted following who connect with the songs' ability to document heartbreak and angst. Death Cab is currently signed to Barsuk and has been produced by the band's own Chris Walla. Tracks on the album include ''The Sound of Settling,'' ''The New Year,'' and ''Death of an Interior Decorator.'' These songs most notably highlight this album and Death Cab's distinctive, comforting sound. Considered one of Seattle's biggest bands, Death Cab for Cutie leaves its mark with this album among teenagers and adults alike.
	Jack Hamrick - Tacoma, WA, United States
Transalanticism is one of those rare records that does what many indie rock records fail to do, and that is draw in more fans, yet keep an independent aspect about the band. Opening with swelling guitar distortion, the album hits hard and heavy, but at its core lay simple pop melodies. The album then proceeds to step back a couple feet, and take in a deep breath with ''Lightness'', which driven by pulsating drums and simplistic guitar and piano, sets a mood for the rest of the record. Transatlanticism bears no awkward pauses, and jumps right into ''Title and Registration? with crisp electronic beats and beautiful vocal melodies. An almost sinister bass line acts like bends in the road, producing an intriguing song structure. ''Expo '86'', driven by Jason McGerr's straight and simple rhythm, brings Transatlanticism's pop aspect into full swing. Suddenly, the song changes with the bridge, turning innocence into maturity, and the listener is given the rock absent since ''The New Year?. ?The Sound of Settling'' stops at no moment; it's upbeat rhythm and pop sensibility gives the listener a little sunshine before heading down a dark path. ''Tiny Vessels'' echoes in with a sad guitar riff, and the melancholic mood looms like a dark rain cloud. Despite the anger and sadness present, something beautiful lies beneath the surface. Once again, the mix of Walla and Gibbard's guitar melodies collides with McGerr's heartbeat drums, all three driven by Harmer's flawless bass lines. Thus, the album's epic piece, ''Transatlanticism'', begins. The subtle electronic clicks and booms laced with a simple piano melody feel almost aquatic, until finally the listener reaches the surface with the guitar's entrance. McGerr enters the song, and the songs builds and builds. ''Passenger Seat'' follows, and words cannot merely describe the song's beauty, driven solely by piano and Gibbard's vocals. The album picks up on ''Death of An Interior Decorator'', and leads into arguably the album's strongest track, ''We Looked Like Giants''. The rock aspect of ''Transalanticism'' is manifested in this song, and the band couldn't have picked a better song to do it with. The album finally ends with ''A Lack of Color'' and simple guitar/piano love song that sums up the many themes present in the record, and sends the listener back to where they began.