ITunes Originals – Death Cab for Cutie

Опубликовано10.11.2018 в 05:41АвторSakora

Death Cab for Cutie - Good Help (Is So Hard To Find) [Official Video]

We all become conditioned to our parents' prejudices and tastes in some manner, so I guess this was far better than adopting my father's blatantly two-faced racism.

Nevertheless, I was kept from trying anything of the sort, imagining a sour and unlikable taste in my mouth whenever it was suggested that I try something of the sort. I finally caved and threw out past apprehensions with the purchase of Silk Chocolate, age 18, and the mixture of reluctance and curiosity was tremendous.

The chocolate milk I had known throughout a lifetime, happy smiling cow assuring a delicious splendor, would pour like a spigot: This was different; as soon as you tilt a carton of soy milk to procure its contents, the viscous sludge plop straight down. Making contact with the bottom of the cup, it just immediately stops and sits there.

It tasted alright, but I remember being so squeamish over how unnatural and manufactured this beverage appeared to be. Death Cab for Cutie pours like soy milk, and I imagine that if I stood before an entire vat that somehow symbolized the execution and presentation of an album like Plans, jumping into it would not be the safest or most foolproof plan when it comes to cooling off. I feel like jumping into what Death Cab for Cutie offers is extremely hard, like reverse-quicksand in the sense that it just doesn't want to take me under and encompass me.

I get my feet wet, no doubt. Whenever I come to listen to this band, I feel like I'm peering into some abyss or trench that's out-of-reach from wherever I'm looking on. The music feels calculated, sophisticated, never sloshing and always holding up its head to indicate some sort of extremely respectable position of greatness.

And, as the quantities of sales and fans begin to steadily rise as they have been for Plans feels like a product of their fruition, and I'm glad that they hold such immense self-esteem. Unfortunately, as it took so much time to come up with something of this magnitude, I feel like it will take the same caliber of effort for me to really dig what an album like this is offering.

Sometimes I wonder if I moved too fast, and I burned myself out on indie music to the point where Death Cab for Cutie became unwillingly tainted to everything I've already heard. This isn't to imply any sense of them being generic or otherwise unoriginal, but I know that the influence that they've had on a great deal of bands have bled through the most previous decade.

The gentle, thoughtful vocal at the forefront of an acoustic or keyboard-driven arrangement, slow buildups rising with a somber and compressed production as saccharine, imagery-packed lyrics come bustling into view. It's a shtick that many, many many many indie rock and indie pop groups have come to adopt, and this is probably the act that helped propel it to such fame.

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It's like how Led Zeppelin and The Who were the most exciting things that one could hear in , but years of influence and better variations of what those bands have done have made them a bit typical and, perhaps even, lackluster to the ears of I guess I'm saying that Plans is sounding a little dated. Luckily, that's one of the most meager and fixable of musical flaws. I think I can already tell which songs of this release will end up being the notables and the favorites: Opener "Marching Bands of Manhattan", having one of my favorite titles I've yet to see adorn a song, is the best one they could have picked out of this lot to front the entirety of Plans; titlewise, a lot of the presentation of the album feels flashy and inviting, and while that usually indicates a form of overcompensation, I don't think that's the case here.

I think there really is a lot that this band has to show and tell. Mega-hit "Soul Meets Body", despite an iffy introduction to my life some years ago, asserts itself pretty confidently as being a sort of ambassador for the record. The upside to all of what I've said, is that if I ever should unlock the secret to making this music sweep me to its undertow, I'd probably have the struggle of a lifetime trying to get back up to the surface.

Exactly my problem with Transatlanticism that I found a silver lining in resides here: I can see and hear the appeal, and I can understand the love, but it's not quite doing it for me. Not yet, at least. An album like this one is not without hope, nor does it have any polarizing flaws that would cause me to ever scoff and detest what Ben Gibbard and co.

Plans isn't going to cease the attention I give it after only two listening sessions, but it will be interesting to see how much of a gap there is between right now and me finally 'getting it'. Until then, I'll stick with my eccentric, androgynous new wave revival acts.

Published merton Dec 03 "I Will Follow You into the Dark" was the song of choice for sensitive teenagers with acoustic guitars in the summer of ' In two years, it would be replaced by "Hey There Delilah". Make of that what you will. Published FlintGF Nov 02 Some years ago I orchestrated a surprise plot twist in my life and moved between countries. In the process, I've managed to make travelling a large part of my life.

A few times every year I make a return trip back to my old homegrounds and have to spend several hours in a row riding various transports from airplanes to buses in order to get from my current home to my past one. The drive from the airport to my childhood home takes about an hour and a half and quite often ends up occurring at late night: It's both nostalgic and slightly wistful; familiar yet different.

This, of course, has absolutely nothing to directly do with Plans itself. If you wanted to discuss Plans and Plans only, there's certainly more than a fair amount of choice of discussion angles to begin from.

Death Cab for Cutie's rise from small-time solo project to Grammy-nominated rock band is one of indie rock's greatest success stories. Launched in the bayside .

If you have a more than passing interest in record labels, you could always note the readers how this was Death Cab for Cutie 's first release on a major label.

If you're of particularly smartass creed, you could draw thin, wobbly lines between that and everything else that makes Plans stand out from its predecessor, such as how it was the first Death Cab album to properly break into the mainstream and thus carries a couple of minor hits to point out. If you want to talk just about the music rather than any of the contextual stuff, the most notable thing to point out is Plans' highly produced sound.

Out of all Death Cab albums past and present Plans is the most hi-fi in sound, covered in countless rich layers of sound and relishing on subtle details and other traits of albums where studio has been used as an additional instrument. The reason why I brought up my personal travel log is because over the course of the last handful of years Plans has become my unofficial soundtrack for returning home wherever that is.

What started out as simply feeling like listening to the album as I stepped on the bus has now bloomed into a tradition where beginning the journey towards your familiar homeground simply isn't the same without the notes of Plans accompanying the travels.

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By now the album's sound has become as heartwarmingly familiar as wherever I'm heading towards and it sets the peaceful mood of going back to where you belong. It's an album that on its own talks about lost loves and contemplative looks in one's personal past, but which has become to embody countless road trips in its sound for me.

The faint elements of nostalgia in its sound even slightly resonate with its new-found context, even if not directly addressing the matters. That personal association is the tipping point where Plans turned from a brilliant album into a five-star one. Even before its personal associations it's always been the crowning jewel of the Death Cab discography, an album where every single great trait of the band are honed to perfection.

Everything on the album works towards the same goal and support eachother effortlessly: Gibbard's introspective character studies and his yearning and longing singing style set the mood, the high-rate songwriting sets a solid base for them to operate their magic from and the rich, lush production allows the atmosphere to truly sink in.

It's a corny thing to say but Plans raises feeling to the forefront, not in an over-the-top emotive way in fact, everything is always rather calm and reserved here but the emotional impact and mood of the song is the key thing each song leaves behind after it's finished. Wistful melancholy characterises each song but the album does it in a peaceful, accepted way: It gives the album an almost soothing atmosphere. It's a heartbreaking, sad album filled with broken hearts, death, irredeemably changed relationships and crushed hopes but it feels peaceful and beautifully longing.

It's a weird combination but it works. It's no wonder Plans has become a personally important album for myself, and I'm quite sure that would have happened eventually even if I had never associated with an accidentally large part of my life.

In many ways Plans captured a lot that I love and obsess about in music: I could spend ages dissecting every trait and characteristic of career highlights and all-time immense moments like "Marching Bands of Manhattan", "Stable Song", "Brothers on a Hotel Bed", "What Sarah Said", "Different Names for the Same Thing", "I Will Follow You Into the Dark" and others and in fact I did before I deleted the paragraph because it was such a clumsy read ; the 11 chapters of Plans are songs that I've listened to with such concentration and dedication that they've become close companions whose every detail and note I remember and fall in love with time and time again when they're ringing out in the ether.

And when they do, I always remember the feeling of seeing night-time countryside pass by from the bus window, taking me to somewhere that is both familiar and distant at once and filling me with something both melancholy and heartwarming. One of the all-time best for me. Published Sheriffnocry Oct 17 Sometimes the best albums are discovered in unusual ways. I remember being 11, and listening to the music my brother would play on his computer.

One song in particular struck me. There was something about this song that I really liked, the soothing voice of Ben, that happy yet sad melody, the dreamy atmosphere in general. One day, I just remembered this song, and did all I could to find it. My brother wasn't home, so I went to his computer and looked all over his Itunes for this song, having no info about it. Naturally, I didn't find it, but I came across something that sounded similar: Death Cab For Cutie.

I listened to a few tracks and really liked it. Years later, Death Cab has come to be one of my favorite bands. This album in particular, I find excellent.

It's brilliant musically, and lyrically. The opening track, Marching Bands of Manhattan, is a soft song, with pretty organ chords, that gets progressively stronger, which displays Ben's sweet voice, and prepares you for the experience you're going to have.

Then, Soul Meets Body. But it's a blend of Alternative Rock, with Folk and Indie. Then, giving you a few seconds to catch your breath, goes Summer Skin. It's a simple song, yet very good. Piano chords over a catchy bassline usually Nick makes great basslines , and Ben's voice is all it takes. Different Names For The Same Thing starts with just piano and vocals, and then about 2 minutes in, they display their talent.

The way all the instruments and effects complement each other is just fantastic. Here, Ben shows his feelings; not wanting to be separated from loved ones after death. Feelings put into clever words. As I write this, I actually come to ask myself: What makes this one of the best? It's not extra-ordinary musically.

It has some simple guitar chords, a simple bassline, simple drumming It's a simple song. But how they mix everything, the atmosphere they give, that's what makes it a great song. And this is the case with many Death Cab songs. The music matches the lyrics, and it trasmits emotions. After this there is Someday You Will Be Loved, a cool song made with distorted guitars, yet the song itself doesn't sound distorted.

Then comes Crooked Teeth, an upbeat fun song with a cool bassline. Then comes What Sarah said, perhaps the most emotional song on the album.

We all become conditioned to our parents' prejudices and tastes in some manner, so I guess this was far better than adopting my father's blatantly two-faced racism. Nevertheless, I was kept from trying anything of the sort, imagining a sour and unlikable taste in my mouth whenever it was suggested that I try something of the sort.

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{REPLACEMENT-(Зайцев.нет)-(}Taking a break from his local power pop band, Pinwheel, Gibbard began recording an album's worth of solo material during the summer of When the tape became a local hit, Gibbard reached into his circle of friends to form a band, hoping to play the new songs live. Bassist Nick Harmer Gibbard's roommate and drummer Nathan Good climbed aboard, and Walla enlisted as the band's primary guitarist he would also go on to produce most of the band's future releases.

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Comments: 2

  1. 17.11.2018

    In it something is. Now all is clear, thanks for an explanation.

  2. 24.11.2018

    It has surprised me.