Fan loyalty will be tested tonight as Death Cab for Cutie takesthe stage at Avalon. Over the past year, the four members of DeathCab have enjoyed an indie rockstar lifestyle as a result of theaccessible and emotional rock of their "Transaltantism" and leadsinger Ben Gibbard's popular collaboration with Jimmy Tamborello asThe Postal Service.
Early fans of Death Cab might be alienated by the emo tinge of"Transatlanticism" and the new-found attention their band has beenreceiving for the past year. However, with the new album, Death Cabmanaged to expose its music to a larger audience and add a littleoomph all at the same time.
There might be a few more thick-rimmed glasses and cardigansthan usual at tonight's Death Cab performance, but perhaps despiteall that, the music itself will be reminiscent of the Death Cab on2001's "Photo Album" that old fans adore so much.
Death Cab gallantly returns to Boston after opening for PearlJam in September. Pretty Girls Make Graves is in the supportingslot this time around, so the bill will be much stronger than inupcoming weeks when Death Cab will kick off their European tourwith Blink-182 (oh, the horror).
Death Cab will be sure to bare their heartstrings tonight asthey tear through their "Transaltlanticism" repertoire. Theirsad-eyed, year-old album deals mostly with space (both physical andemotional), loneliness and long-distance relationships. Theincorporation of keyboard-piano into the more somber moments of thealbum especially is a delight.
Some tracks unexpectedly take on a bit of a bounce, a la ThePostal Service, such as "Title and Registration," and theironically peppy "The Sound of Settling." Lead vocalist Gibbardbelts out quite a number of gleeful bop-BAHs in "The Sound ofSettling," whilst lamenting, "I'll sit and wonder of every lovethat could have been."
The most affecting moments on the album are perhaps also themore subtle and delicate. "Passenger Seat," with its soft pianochords and hushed vocals, is a joy of a tune. The track conjures upimages of Gibbard on the road whilst attempting to differentiatebetween "shooting stars" and "satellites," between what is true andwhat is false. Understatement clearly is Death Cab's strength.
Death Cab's most well-known and radio-friendly song, "The NewYear," finds the band back in their straightforward, plaintivemode. Direct and icy guitars crash through the opening beforejingling into a comfortable backdrop for Gibbard's confessions. Aparticular lyrical highlight is, "I wish the world was flat likethe old days / and I could travel just by folding the map."
Lyrics always have been Gibbard's strong suit. Usually he steersclear of senseless cliches as well as songs filled with vagueallusions and the words "you," "this" and "she." However, Gibbardmight betray his lyric-crafting reputation during "Lightness" whenhe croons, "Your heart is a river that flows from your chest /through every organ / your brain is the dam / and I am thefish..."
Perhaps "Transatlanticism" is not the beginning of the end forDeath Cab. While they certainly carved out a niche for themselvesamong indie rockers, it's possible they can bridge the gap betweenindie and mainstream music. However, Gibbard was quick to state inan old Popmatters interview; "I don't want to be an indie-rockband."
"Transatlanticism" still features the introspective and sincereDeath Cab of yore, but with a bit more production than usual. Theband still sighs as it accepts its sad lot, yet hints at hope nowand then. While Gibbard announces at the beginning of the album,"this is the New Year, and I don't feel any different," he closeswith, "This is fact not fiction, for the first time in years."
A bit of soul-searching might be in order for old fans of DeathCab wrestling with the notion of attending tonight's concert, butnew fans can be assured that the set will heavily feature the"Transatlanticism" Death Cab that they know and adore.
The show begins at 8:00 p.m.; tickets are $17.50
