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Music : Plans
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Rating: 
- not very VERY good, just very good
When cult indie/emo heroes Death Cab For Cutie announced a deal with a major record label at the end of 2004, it was met with such doubt by the DCFC faithful that frontman Ben Gibbard posted a statement on their website, reassuring their fans that nothing would change. In fact, the sound and arrangement on sixth album Plans is practically indistinguishable from predecessor Transatlanticism - the overpolished guitar, whimsical piano and atmospheric vocals all remain, and the songwriting is as personal and poetic as ever. Presumably this all stayed the same because it was recorded, produced and generally engineered by band member Chris Walla - it's good to know that they have been able to retain creative control.
Opener 'Marching Bands of Manhattan' is instantly identifiable as the work of DCFC. Its gentle, organ-based start and slow crescendo harks back to the days of 'The Photo Album', and as the last sounds die down they blend seamlessly into second (and easily the most commercially appealing) track 'Soul Meets Body'. This is the kind of songwriting and style that Transatlanticism was made of, a slightly upbeat number with a singalong chorus and killer line "you're the only song I want to hear, a melody softly soaring through my atmosphere". The tone of the song bears more than a passing resemblance to Transatlanticism's 'Title and Registration'. Herein lies a key point: if you have ever recommended DCFC to anyone and they haven't liked it, this will far from change their mind. Not that there's anything wrong with Plans, it just feels very linear when put next to the other albums. The sound remains the same - they still sound like the lovechild of REM and Modest Mouse - but some of the songs here do sound slightly weak. 'Different Names For The Same Thing', for example, is a plodding, disjointed number which is quite amiable after two minutes, but once you're past the five minute mark you might find yourself reaching for the SKIP button. Quite rightly so, as immediately after it comes 'I Will Follow You Into The Dark', which sees just Gibbard and his guitar on a (slightly creepy) love song about promising to die with someone ("if there's no-one beside you when your soul embarks, I will follow you into the dark"), which is one of the highlights of the album.
Talk of death has never been absent in DCFC's work, but there's something about Plans which seems to take in the bigger picture rather than the usual individual tales of lost love. As well as the aforementioned 'I Will Follow You Into The Dark', thoughts of mortality can also be found in 'What Sarah Said', which is about the realisation that when two people are in love and plan to be together forever, then one will inevitably live to see the other die. Opening line "And it came to me then that every plan is a tiny prayer to Father Time" sets the tone, as well as providing inspiration for the album title. It's not exactly light listening, and maybe that's what Plans is missing. 'Company Calls', 'I Was A Kaleidoscope' and 'The Sound Of Settling' each provided a handy upbeat intermission on the previous three DCFC albums, but Plans is void of such pleasure - it sounds pretty downbeat all the way, with only 'Crooked Teeth' trying to raise the tone.
Overall, Plans isn't as interesting as some other DCFC stuff. You still need this album if you're a fan though, and it's still a lot better than most albums that will be released this year if you like this kind of thing. If you're new to the world of DCFC, you'll probably get more enjoyment out of The Photo Album or Transatlanticism.
Rating: - Super album from under-rated band
Having discovered Ben Gibbard from his vocal input on Dntel's song The Dream (Of Evan and Chan), I immediately sought his other work. Although mostly a fan of electronic music, I got drawn in by the melodies of Death Cab for Cutie/The Postal Service and Gibbard's knack for writing a superb indie-pop song.
There is not a poor song on this album, and it starts off in great style with 'Marching Bands of Manhattan' which became an instant fave with its repeating vocals towards the end of the song.
'Summer Skin' I presume is a sorry tale of a holiday romance gone sour only told in an upbeat manner and another fave.
The production of this album is excellent with great emphasis on soaring melodies and catchy hooks, it will not disappoint anyone wanting to discover something a bit different from the generic UK indie output of late.
Rating: - Transatlantism Part Two!!
I only discovered Death Cab For Cutie a few months ago because my friend in America was kind enough to send me a few MP3's. I was blown away from all the emotion and talent that this band delivered, I was immediately hooked on them after hearing such songs as 'Title & Registration' 'Death Of An Interior Decorator' 'Wait' 'All If Full Of Love' and the short but blissful 'Steadier Footing'. After hearing these I was determined to go out and buy all their albums, however, the store only had Transatlantism so I bought it, and I will never forget the emotions I felt after hearing this album.
All ready I have the majority of their material, and I was happy to hear they had a new album coming out only a few months of being a fan.
I had already heard 'Soul Meets Body' on their MySpace profile and I was impressed with what I heard, and was pleased to hear that their sound hasn't changed at all now they are on a major record label.
'Marching Bands Of Manhattan' is a soothing introduction to the album, followed by the upbeat tune 'Soul Meets Body', after this the tempo slows down with a traditional Death Cab 'pure emotional' ballad 'Summer Skin'. Different Names For The Same Place' I was very impressed with because of it's ability to start of slow with a piano and reach a build up. 'I Will Follow You Into Darkness' is a beautiful acoustic ballad with the use of only Gibbards beautiful voice and an acoustic guitar. I fell in love with 'Your Heart Is An Empty Room' straight away simply for it's beautiful and emotional use of the bass. 'Someday You Will Be Loved' is deffinately a grower, I liked it on my first listen, but after hearing it a few more times I love it, 'Crooked Teeth' is a bit more upbeat and is addictive because of Gibbards flowing melodies, and the catchy use of the electric guitar. 'What Sarah Said' starts of with a nice piano melody and followed by the bass, this song is beautiful, and very emotional, it's about being in hospital waiting for your lover knowing they are dying, it's deffinately a current favourite, it's pure bliss. 'Brothers On A Hotel Bed' begins and I am immediately reminded of the title track of 'Transatlantism' with the beautiful slow piano which becomes accompanied by a nice tame beat. 'Stable Song' begins with the use of beautiful guitar chords, and Gibbards vocals in this song are subtle and beautiful like in 'Steadier Footing'.
After hearing this album I would agree with Walla (Drummer) when he says this album is Transatlantism part two, and it's the perfect sequal, Transatlantism is my favourite album by Death Cab, but I feel there might be abit of competition between Plans and Transatlantism as they are both amazingly beautiful along with the rest of their albums which are also amazing, but these are my personal favourites. This album is a must have for any Death Cab For Cutie fan, I recommend it to anyone, especially those who like emotional music, they are becoming one of my favourite bands, one of clearly because no band will ever knock Placebo of the top of my list. I am sure this album will be my album of autumn, next to Starsailors forthcoming album.
Rating:
- Good as Always with Death Cab, but not Special
Plans is a highly enjoyable and listenable album. Well crafted melodic and gentle tunes, backdrop to Ben Gibbard's therapeutic vocals. Excellent songs like "Soul Meets Body", "Summer Skin" and "Crooked Teeth" are backed up by less accessible, yet equally brilliant ones, "Marching Bands of Manhattan" being the one that sticks out of this category, in that it seemed nothing special at my first listen through, yet now is perhaps the one that most intrigues. Of course, with Death Cab these favorites change often, this being one of the reasons they are so dear to me.
However, Plans pales when compared to "The photo Album" and "Transatlanticism", and I can't help feeling that the album is a bit too gentle, and all the songs seem relatively samey. It would benefit from something a bit different, as "I was a Kaleidoscope" did for The Photo Album and "The Sound of Settling" did for Transatlanticism.
I would say "go out there and buy it," because it is a wonderful, well thought out album, but it didn't hit the same levels as Transatlanticism did, and, to a lesser extent, The photo Album did. If you already have those two, then buy this as well, it is worth it, but my advice to those who have yet to really encounter Death Cab, is to buy Transatlanticism first.
- not very VERY good, just very goodWhen cult indie/emo heroes Death Cab For Cutie announced a deal with a major record label at the end of 2004, it was met with such doubt by the DCFC faithful that frontman Ben Gibbard posted a statement on their website, reassuring their fans that nothing would change. In fact, the sound and arrangement on sixth album Plans is practically indistinguishable from predecessor Transatlanticism - the overpolished guitar, whimsical piano and atmospheric vocals all remain, and the songwriting is as personal and poetic as ever. Presumably this all stayed the same because it was recorded, produced and generally engineered by band member Chris Walla - it's good to know that they have been able to retain creative control.
Opener 'Marching Bands of Manhattan' is instantly identifiable as the work of DCFC. Its gentle, organ-based start and slow crescendo harks back to the days of 'The Photo Album', and as the last sounds die down they blend seamlessly into second (and easily the most commercially appealing) track 'Soul Meets Body'. This is the kind of songwriting and style that Transatlanticism was made of, a slightly upbeat number with a singalong chorus and killer line "you're the only song I want to hear, a melody softly soaring through my atmosphere". The tone of the song bears more than a passing resemblance to Transatlanticism's 'Title and Registration'. Herein lies a key point: if you have ever recommended DCFC to anyone and they haven't liked it, this will far from change their mind. Not that there's anything wrong with Plans, it just feels very linear when put next to the other albums. The sound remains the same - they still sound like the lovechild of REM and Modest Mouse - but some of the songs here do sound slightly weak. 'Different Names For The Same Thing', for example, is a plodding, disjointed number which is quite amiable after two minutes, but once you're past the five minute mark you might find yourself reaching for the SKIP button. Quite rightly so, as immediately after it comes 'I Will Follow You Into The Dark', which sees just Gibbard and his guitar on a (slightly creepy) love song about promising to die with someone ("if there's no-one beside you when your soul embarks, I will follow you into the dark"), which is one of the highlights of the album.
Talk of death has never been absent in DCFC's work, but there's something about Plans which seems to take in the bigger picture rather than the usual individual tales of lost love. As well as the aforementioned 'I Will Follow You Into The Dark', thoughts of mortality can also be found in 'What Sarah Said', which is about the realisation that when two people are in love and plan to be together forever, then one will inevitably live to see the other die. Opening line "And it came to me then that every plan is a tiny prayer to Father Time" sets the tone, as well as providing inspiration for the album title. It's not exactly light listening, and maybe that's what Plans is missing. 'Company Calls', 'I Was A Kaleidoscope' and 'The Sound Of Settling' each provided a handy upbeat intermission on the previous three DCFC albums, but Plans is void of such pleasure - it sounds pretty downbeat all the way, with only 'Crooked Teeth' trying to raise the tone.
Overall, Plans isn't as interesting as some other DCFC stuff. You still need this album if you're a fan though, and it's still a lot better than most albums that will be released this year if you like this kind of thing. If you're new to the world of DCFC, you'll probably get more enjoyment out of The Photo Album or Transatlanticism.
Rating:
- Super album from under-rated bandHaving discovered Ben Gibbard from his vocal input on Dntel's song The Dream (Of Evan and Chan), I immediately sought his other work. Although mostly a fan of electronic music, I got drawn in by the melodies of Death Cab for Cutie/The Postal Service and Gibbard's knack for writing a superb indie-pop song.
There is not a poor song on this album, and it starts off in great style with 'Marching Bands of Manhattan' which became an instant fave with its repeating vocals towards the end of the song.
'Summer Skin' I presume is a sorry tale of a holiday romance gone sour only told in an upbeat manner and another fave.
The production of this album is excellent with great emphasis on soaring melodies and catchy hooks, it will not disappoint anyone wanting to discover something a bit different from the generic UK indie output of late.
Rating:
- Transatlantism Part Two!!I only discovered Death Cab For Cutie a few months ago because my friend in America was kind enough to send me a few MP3's. I was blown away from all the emotion and talent that this band delivered, I was immediately hooked on them after hearing such songs as 'Title & Registration' 'Death Of An Interior Decorator' 'Wait' 'All If Full Of Love' and the short but blissful 'Steadier Footing'. After hearing these I was determined to go out and buy all their albums, however, the store only had Transatlantism so I bought it, and I will never forget the emotions I felt after hearing this album.
All ready I have the majority of their material, and I was happy to hear they had a new album coming out only a few months of being a fan.
I had already heard 'Soul Meets Body' on their MySpace profile and I was impressed with what I heard, and was pleased to hear that their sound hasn't changed at all now they are on a major record label.
'Marching Bands Of Manhattan' is a soothing introduction to the album, followed by the upbeat tune 'Soul Meets Body', after this the tempo slows down with a traditional Death Cab 'pure emotional' ballad 'Summer Skin'. Different Names For The Same Place' I was very impressed with because of it's ability to start of slow with a piano and reach a build up. 'I Will Follow You Into Darkness' is a beautiful acoustic ballad with the use of only Gibbards beautiful voice and an acoustic guitar. I fell in love with 'Your Heart Is An Empty Room' straight away simply for it's beautiful and emotional use of the bass. 'Someday You Will Be Loved' is deffinately a grower, I liked it on my first listen, but after hearing it a few more times I love it, 'Crooked Teeth' is a bit more upbeat and is addictive because of Gibbards flowing melodies, and the catchy use of the electric guitar. 'What Sarah Said' starts of with a nice piano melody and followed by the bass, this song is beautiful, and very emotional, it's about being in hospital waiting for your lover knowing they are dying, it's deffinately a current favourite, it's pure bliss. 'Brothers On A Hotel Bed' begins and I am immediately reminded of the title track of 'Transatlantism' with the beautiful slow piano which becomes accompanied by a nice tame beat. 'Stable Song' begins with the use of beautiful guitar chords, and Gibbards vocals in this song are subtle and beautiful like in 'Steadier Footing'.
After hearing this album I would agree with Walla (Drummer) when he says this album is Transatlantism part two, and it's the perfect sequal, Transatlantism is my favourite album by Death Cab, but I feel there might be abit of competition between Plans and Transatlantism as they are both amazingly beautiful along with the rest of their albums which are also amazing, but these are my personal favourites. This album is a must have for any Death Cab For Cutie fan, I recommend it to anyone, especially those who like emotional music, they are becoming one of my favourite bands, one of clearly because no band will ever knock Placebo of the top of my list. I am sure this album will be my album of autumn, next to Starsailors forthcoming album.
Rating:
- Good as Always with Death Cab, but not SpecialPlans is a highly enjoyable and listenable album. Well crafted melodic and gentle tunes, backdrop to Ben Gibbard's therapeutic vocals. Excellent songs like "Soul Meets Body", "Summer Skin" and "Crooked Teeth" are backed up by less accessible, yet equally brilliant ones, "Marching Bands of Manhattan" being the one that sticks out of this category, in that it seemed nothing special at my first listen through, yet now is perhaps the one that most intrigues. Of course, with Death Cab these favorites change often, this being one of the reasons they are so dear to me.
However, Plans pales when compared to "The photo Album" and "Transatlanticism", and I can't help feeling that the album is a bit too gentle, and all the songs seem relatively samey. It would benefit from something a bit different, as "I was a Kaleidoscope" did for The Photo Album and "The Sound of Settling" did for Transatlanticism.
I would say "go out there and buy it," because it is a wonderful, well thought out album, but it didn't hit the same levels as Transatlanticism did, and, to a lesser extent, The photo Album did. If you already have those two, then buy this as well, it is worth it, but my advice to those who have yet to really encounter Death Cab, is to buy Transatlanticism first.