Death Cab for Cutie - Plans
Author: Rhyannon Rodriguez
Release Date: 2005-08-30
Label: Atlantic
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“If Transatlanticism was an inhale, Plans is the exhale” (Chris McGerr, drums).
Following the colossal success of the critically acclaimed Transatlanticism, Death Cab for a Cutie reassures that the move from independent label Barsuk to major Atlantic was a smooth one with their massively stunning, Plans. After Seth Cohen has officially OC-certified the band, this time around DCFC restores confidence in their authentically- dear sound, demonstrating the legitimate originality even after commercial- conquering status.
Ben Gibbard’s massive aptitude to turn a phrase never ceases to sooth ears. Gibbard delivers with such effortless ease, in combination with the flow of the band, they produce a melodically-mellow masterpiece. Although Gibbard often sings of cliché feelings, aged and tired themes ridden of broken hearts and soul searching, he manages to communicate so much more. Through opener “Marching bands of Manhattan” to closer “Stable Song,” DCFC shares therapeutic air that never fails to soften your heart. DCFC never speaks with nervous urgency but continues to convey an optimistic, relaxed impression. Frequently does the DCFC sound drip with distance, but the reinforcing twinkling guitar work and Gibbard’s warm portrayal does not predictably weep of abyssal melancholia, but exudes a sense of acceptance and hope.
“Soul Meets Body” essentially crystallizes the pop song as we know it with “so brown eyes I hold you near/cause you’re the only song I want to hear/a melody softly soaring through my atmosphere.” Plans effectively covers vast musical territory, while maintaining a weightless pop-glow travels to piano ballads such as “Different names for the Same Thing” to the acoustic intimacy of the immediately effective “I will follow you into the dark.” DCFC ‘s emotional apex “What Sarah Said” insists that “love is watching someone die” as they paint the portrait of a dying loved one. As the song winds down, it asks “who will watch you die?” Distributing a tender closeness so affective, one forgets that Gibbard hums about more than shattered sensitivity and unattainable destinations while merely mentioning the “piss and 409” of a deadened hospital room. The magic of DCFC is that each song takes you on a journey. Chris Walla, guitarist and producer, fine-tunes each track, pushing it to its full potential. In addition, Plans features the first DCFC song not stemmed from Gibbard: “Brothers on a Hotel Bed” by Walla.
Although McGerr insists that Plans serves as a type of comparative, next-of-kin function to the previous Transatlanticism by referring it to the “exhale” of an “inhale,” Plans stands sufficiently on its own, expressing the absolute epitome of this generation’s pop.
Plans is available in stores August 30th.
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