Cover art for Kintsugi, which wil be Death Cab For Cutie’s eighth album.
Another two tracks from Death Cab For Cutie’s new album Kintsugi emerged this week, and if you weren’t excited already about life after Chris Walla, these might help get you pumped a little.
The Ghosts Of Beverly Drive and Little Wanderer are the latest songs, and both took me back to my 1990s indie rock days a little, with serious hints of The Cure in particular evident in both, not least across the guitar sounds. All four tracks out so far can be sampled at the YouTube playlist.
About a month ago, we heard brand new music from Death Cab For Cutie, which is preparing to release its first album sans Chris Walla at the end of March. This week, a second single from the album, Kintsugi, emerged. No Room In Frame is its name.
Unlike Black Sun, that first track released in January, No Room In Frame is bouncy little pop tune, although the lyrics are a little sad. It’s a break up song of sorts. Whether it also refers to Walla is up to your interpretation. Mentions of cameras, and standing in someone’s way suggest it might be.
With twinkles of electronics, some tasty guitar work and wonderful production, it’s another big reason to get excited about the release of the full album. Not long now, folks.
Here’s an acoustic version of Black Sun, just for kicks, which is probably how Ben Gibbard brought it to the band. Beautiful.
Cover art for Kintsugi, which wil be Death Cab For Cutie’s eight album.
It’s been less than six months since guitarist Chris Walla left Death Cab For Cutie after 17 years with the Washington state alt-rock legends. But that doesn’t seem to have stifled the band’s creative edge. If anything, what’s been released of late is edgier than we’ve heard for some time.
Black Sun is a great example, a dark and brooding affair that would sound at home on some of DCFC’s earlier records such as The Photo Album, but with slicker production.
A new album, the aptly named Kintsugi, is coming out on 31 March, and tour will follow with new live band members Dave Depper (guitar/keyboards) and Zac Rae (keyboards) filling the sizeable hole left by Walla.
If you didn’t know, kintsugi is the Japanese art of fixing broken pottery with resin, creating a beautiful new version of a damaged article. Some call it the art of embracing damage and the philosophy behind it is to treat damage as part of an object’s history, rather than hiding it away.
It’s never been super clear what sparked Walla’s desire to leave the band. He talked about a longing for the unknown, but it was a big shock when the news broke. Still, if Kintsugi is to live up to its name, it seems the damage caused to the band will matter little. They’ve embraced it, and released something that has a history of the band within its sonic quality, as well as a new lease on life.
It’s what a lot of “broken” bands don’t do, all too often. They try to drive along the same path, but with an engine that is no longer fit for purpose. You could do case studies on INXS, Queen and many others for proof of that.
Bombay Bicycle Club is a band that has given me a lot of joy over the past few years. It started with the 2007 EP The Boy I Used To Be, which included the pounding raw wonder of Cancel On Me, a track I was obsessed with for months. That was followed by a couple of other EPs before the magic debut album I Had The Blues But I Shook Them Loose, which included the aforementioned track as well as another cracker in What If, which cemented drummer Suren de Saram in my mind as one to watch.
Since then things have moved on. They’ve matured into a staple Brit pop/rock band and the most recent record, A Different Kind Of Fix, is collection quite different to its predecessors. It’s perhaps less angry, more polished, but still carries the raw breed of sound I used to get from early Death Cab For Cutie with a little of the lush rock that characterised the Smashing Pumpkins’ earlier work – you remember, when they were good.
Anyway, I’m rambling. I saw Bombay Bicycle Club recently on their first trip to Australia, where they were touring with the mighty and magnificent Elbow. They held their own, and then some, and cracked me wide open when they blew the first single from A Different Kind Of Fix, Shuffle, from the house PA at the Hordern Pavilion. So here it is, live if a little less energy fuelled, from the BBC Studios, an apt place given the broadcaster’s matching acronym. It’s got a ripping bassline, and Suren de Saram excels as always. Enjoy it.
I remember the first time I heard Coldplay‘s music. It was late 1999 (I think). I picked up a copy of an EP called The Blue Room, which featured five tracks on it. I would later discover that this was the band’s first release under the Parlophone label that they’d recently signed with.
Coldplay, wondering why they don't think their music sounds shit when every one else does.
I thought it was magnificent at the time – still do actually. It was such a unique sound, and Chris Martin’s vocals were like nothing I’d ever heard. Soon after that came Parachutes, the band’s debut album. I got it before it was released. I was so excited by their sound. I loved every track, one of which, Don’t Panic, appeared in a different form on the EP.
Fast forward a decade or so, and I’m lost for words again about Coldplay’s latest release. I can’t believe what I’m hearing. Again, it’s a unique sound, like nothing I’ve ever heard.
Trouble is, it’s uniquely shit.
Colpdplay was one of those band’s I thought I’d like forever, like Death Cab For Cutie, or Elbow, or Sigur Ros. But every time they’ve released a record, it’s been short of the one before. A Rush Of Blood To The Head, their second album, was OK. The Scientist is a beautiful song, and I always liked Warning Sign too. There were other good tracks on there, but none with the quality of the Parachutes tracks.
The production was up-scaled on A Rush Of Blood To The Head somewhat, in my view to the band’s detriment, and that trend continued into X&Y, which again only had a couple of tracks on it I liked. Then there was Vida La Vida, an odd title for an equally odd record. Upon listening to opening track Life In Technicolour, I remember thinking: “Oh, OK. We’re back on track here. This is good.” But then every other track failed to inspire me. By the end of the album, they’d lost me. I couldn’t take it anymore.
The sad thing is that’s made me listen to the older stuff less. I cranked Shiver from Parachutes as I was writing this and thought: “Wow. That’s a fucking great song.” It’s simple. There is nothing complicated about it, but it’s just a great song. Structurally sound, lyrically interesting – just good all over.
And now, in mid-2011, they deliver Every Teardrop Is A Waterfall to our ears. A lot has already been written about this track, but very little of it good. Many have said it sounds like a 90s disco track. I can’t disagree. The first thing that came into my head when I heard it was the Mardi Gras gay, lesbian and bisexual parade that happens every year here in Sydney. Believe me, that’s not a good endorsement. It’s just bog-standard awful. Have a listen, if you dare, and then read on.
My girlfriend said to me what’s happened to Coldplay is like someone who takes a great photograph, and then touches it up so much with Photoshop that it ends up looking completely weird and shit. She’s so right. Coldplay no longer represents the band I loved so much all those years ago.
So what went wrong? It’s like they’ve had their song put through some sort of weird-ass pop machine by the record company executives at Parlophone in the hope that millions of dollars a spat out of the other end. Stadium rock just isn’t their bag. I wish they’d wake up and realise that, but while the money keeps rolling in, it’s unlikely that will happen.
It’s sad. Perhaps the track’s title – teardrops and waterfalls – is some sort of metaphor for what any fans that remain are going through as they hear this new track. One thing is certain – I won’t be going to see them live again until they find a cure for their sickness. It’s just not worth it anymore.
Postscript: Seems I’m not the only person thinking this way. here’s a fun post from popbitch on the possible inspirations for this track.
This is something new from Death Cab For Cutie. It’s a solo performance by lead singer Ben Gibbard of a track from the band’s forthcoming album Codes And Keys. I like it, and can’t wait to hear the full-blown recordings. The record is set for a May release.
I’m struggling to keep up with the amount of new music that’s coming out. From Death Cab For Cutie to Radiohead, it seems all my favourite bands have decided to release their latest compositions at the same time. Add to that list Elbow, whose new album Build A Rocket Boys is set for release on March 7. Here’s a track from it – Neat Little Rows – which certainly makes me want to hear more.
Light+Shade 