ALEX: ‘Death Cab’ Delivers

This time Alex will be bringing to you a review on Death Cab for Cutie’s May release “Codes and Keys.” Stay tuned and thank you for listening.

Death Cab for Cutie has been making music for more than 10 years. From their first release on Barsuk Records, to their own spot in the grand halls of Atlantic Records, Death Cab’s sound has tried to stay true to their Rock and Roll roots. “Codes and Keys” is an album that almost bridges the gap between their sound in “Transatlanticism” and their more modern sound from “Plans.” That said, “Codes and Keys” is nothing like you have previously heard from Death Cab.

I first put “Codes and Keys” into my car right after buying it. My girlfriend, in the passenger seat, made it hard to listen to the album, because I had to turn it down as she begged for my attention. Trying to listen to the album on my computer when I got home was foiled by chores and errands that I still needed to do. Traveling to Sacramento that weekend with some friends sounded like a perfect opportunity to listen to the album; but my plans of happiness were foiled again as the group instead wanted to listen to Journey, and the like. Finally on the return trip through L.A., when I was driving at 3 in the morning, I was able to listen to “Codes and Keys.”

When I put in the CD, the album that came to my mind was Arcade Fire’s release “The Suburbs.” Similar to “The Suburbs,” “Codes and Keys” uses simple, powerful, chord structures that, to put it simply, sound good. Instead of the intricate individual parts that have shaped Death Cab’s full sound in songs like “Plans,” “Transatlanticism” and “Narrow Stairs,” they go for a sometimes minimalistic, more powerful approach to reach a full, soul-shaking sound. True, Death Cab has never pushed the boundaries of music, but Ben Gibbard’s and Chris Walla’s beautifully done guitar work has been replaced with solid bass lines, rotating piano chords and powerful drum beats. Gibbard’s word play and wonderful stories have been replaced by different effects that he adds to his voice, trying to get by.

Even with these general faults with the album, there are some exceptions to the rule, like the single “You are a Tourist” and the last track “Stay Young, Go Dancing,” but most of the songs sound like Death Cab was rushed or didn’t bake each song for as long as they should have.

“Home is a Fire,” the opening track, brings on the tension with fast intense drum and bass lines, which anticipates a “Bixby Canyon Bridge” style-build but then breaks apart and falls flat. The title track “Codes and Keys,” is a relaxed piano ballad with violin tracks served over top, which is stylistically and tonally similar to much of Arcade Fire’s “Suburbs.” I wondered at this point of the album if this was Atlantic Record’s response to the 2011 Grammy winner and was quite worried for the rest of the album.

The album then raises the tension with “Some Boys,” a chest pounding power song. The bass and piano follow a similar path on a revolving repeat of a handful of chords. Combined with Gibbard’s powerful vocals “Some Boys” is actually a highlight on the album. Then “Doors Unlocked and Open” bursts into the album with great guitar work and put me at ease.

The best song on the album is by far, “You Are a Tourist,” the fifth track and single for the album. Great guitar lines that are instantly recallable, powerful lyrics and bass lines and amazing song structure are delivered with the precision and ease that only Death Cab can offer. The rest of the album has a couple of highlights but in the end the only song that really stuck out to me was “You Are a Tourist.”

Sometimes, you have to honor a band that has the capability to alter their sound and progress into something that sounds new. Like Noah and the Whale’s release “The Last Night on Earth,” Death Cab for Cutie’s album “Codes and Keys,” is something entirely different yet, at the same time, still feels and sounds like their old selves. Even with all of the criticism “Codes and Keys” has received since its release, the album as a whole sounds good and keeps with the spirit Death Cab has forged over years of playing and recording. Even though I don’t love each song, it is hard for me to not sing along with Gibbard’s lyrics. Even though the songs are simplistic, it is hard not to jump up and dance and pretend to play the guitar along with Chris Walla or play bass with Nick Harmer.

Bottom Line: “Codes and Keys” is a great, albeit not their best, album from Death Cab for Cutie. If you enjoy Arcade Fire’s “The Suburbs,” Beach House’s “Teen Dream,” Miniature Tigers’ “Fortress” or Stars’ “Set Yourself on Fire,” then check out “Codes and Keys.” If not, still check it out. And check out the other ones, for they are good albums as well. I would give “Codes and Keys,” 7.254 pieces of gum out of a 10 piece pack.

Regrettably,

Just Alex

— alexander.h.van_oene@aggiemail.usu.edu