I always admired the fashionable Death Cab for Cutie, but from a distance. Their previous work was soothing and comforting but it always seemed to lack a certain unclear quality. At times I felt like they were re-writing their own songs and frequently reusing the same ideas. Well, after a brief escape for the band and singer/guitarist Ben Gibbard achieving new found success with The Postal Service, they will no longer be admired from a distance, but from within. Death Cab for Cutie have noticeably developed in all aspects of their music, which is why my ears were drawn closer.
Transatlanticism is the type of album that exudes ingenuity and creativity. Each song holds distinct emotional fiber and character and a uniqueness that renders each moment to glisten. This dynamic separates their latest effort from their previous releases.
Gibbard’s songwriting and lyrical anecdotes are more strapping and coherent than ever. His words aren’t as flat out depressing and gloomy as previous efforts yet there are still enough tearjerker lines to comfort the sweater wearing emo kids who will closely read the lyrics with a box of Kleenex nearby. The main premise and theme of the lyrics on Transatlanticism is vastness and the distance it embodies. This theme is set in motion with the opening track “The New Year”, “I wish the world was flat like the old days/So I could travel just by folding the map/No more airplanes or speed-trains or freeways/There’d be no distance that could hold us back.”
As mentioned though, the down in the dumps yet cynical lyrics are still a main ingredient of the dominant formula that made Death Cab for Cutie the indie pop/rock powerhouse they are. The track “Tiny Vessels” is filled with these sentiments, “This is the moment that you know/That you told her that you loved her but you don’t/You touch her skin and then you think/That she is beautiful but she don’t mean a thing to me.” The lyrics of Gibbard can be very simple at times, yet clever enough to reel you in and move you. The lyrics in “We Looked Like Giants” represent this sense of style brilliantly. “God bless the daylight, the sugary smell of springtime/Remembering when you were mine in a still suburban town/When every Thursday I’d brave those mountain passes/and you’d skip your early classes/And we’d learn how our bodies worked.”
The music too, must not be overlooked. Subtly experimental, it still holds that lush indie pop/rock essence; the pianos and keyboards are more leading and prominent as they propel and butter up the songs. The rhythmic guitars complement and harmonize the keys, which intermix to form a special continuity and stability that helps the album flow and blend nicely. New drummer Jason McGerr (of Eureka Farm fame) adds a sense of balance and poise to the music that was noticeably lacking somewhat before. The album also includes some unusual studio production sound effects that neatly fit into the compositions while remaining passive amongst the music.
Transatlanticism can best be observed as evolution. Death Cab for Cutie ran their previous course of music into the ground; but after some time off and a rejuvenation of sorts, they have produced their best and most complete work of art to date.
Pretty Vicious – Beauty of Youth
Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype
The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.
Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.
There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.
You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.
It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.
Sum 41 – Order In Decline
Long gone are the days of All Killer, No Filler
Canadian pop-punkers Sum 41 have been remarkably consistent over the course of their last few albums. And while we have never stopped calling Sum 41 a pop-punk band, their last few albums have been less about being fun and bouncy, opting instead for a far more serious flavor of rock music. Long gone are the days of All Killer, No Filler, replaced instead with songs that do their best to mimic Muse’s big stadium anthem feel while not forgetting their penchant for metal licks and hefty solos. Truth is, it’s quite a shame because when Sum 41 were more about being fun and silly, their songs had this incredible likeability to them. Forget All Killer, No Filler, they were at their most fun with their often silly 2000 debut Half Hour of Power.
So what to expect with Order In Decline, their 7th full length? Well, if you like easy-to-digest pop-punk anthems, you best look elsewhere as much of the album spends way too much time taking itself too seriously. Not that the results are bad; songs like “A Death in The Family” and “Out For Blood” do the faux-hardcore/melodic punk thing really well. The chugga chugga riffs, toe-tapping melodies, and Deryck Whibley’s snotty vocals continue the band’s well-refined sound. Opener “Turning Away” doesn’t shy from being a little metal, a little rock, a little punk, and sets the high energy tone for the album. The return of Dave Brownsound for 2016’s 13 Voices has solidified the album’s two-pronged guitar attack, and Order In Decline’s production helps on that front- it’s a loud album, it just doesn’t seem to say a whole lot at times. “45 (A Matter of Time)” is the band’s anti-Trump song, and while it tries to provoke, sounds loud, its cheesy protests of “You’re something to few / But nothing to me / Someone so twisted and sick as can be / It wasn’t the plan / We gave it a shot / You’ve proven a real man is something you’re not” won’t exactly inspire a raging fire within the listener. I suppose if you’re turning to Sum 41 to change the course of the future, we’re all in trouble.
Sum 41 love their ballads too- and Order In Decline’s lighter in the air moment (phones in the air for you kids) is the piano-strewn ballad “Never There”. It’s OK, but doesn’t quite reach the heights of effective balladry they showed with “With Me”. The album’s best moment is the blitzing “The People Vs…” which trades the stadium rock for more melodic hardcore/thrash that a little akin to some of the goofy stuff they did on Half Hour. The meaty riffs, a great solo and the soaring chorus pumps much needed old Sum into Order In Decline, and it’s only a shame there isn’t more of it on the record.
As the album closes with the radio-ready “Catching Fire”, listeners are left with one of these two thoughts. For those who enjoy Sum 41 when they’re trying to be the best big band they can be, there is plenty to like on Order in Decline. They’ve found a consistent, polished, and well-produced sound they first hinted on with 2002’s Does This Look Infected?. For those who found their juvenile, snotty attitude on Half Hour of Power and All Killer to be the quality they most enjoyed will respond to Order in Decline with indifference. At least I don’t hate it.