Anne WidjajaDeath Cab for Cutie: Narrow Stairs. A Verdict.
June 2nd 2008 13:26
If you're thinking of dabbling in the ambiguously murky world of indie pop, Death Cab for Cutie (DCFC) is the best place to start. Witty lyrics, Check. Featured on the OC, Check. Hates their new, larger mainstream, pseudo 'alternative' fan base? Check. At least one member of the band sports a side fringe/cool plastic square rimmed glasses? Check, check, check!
Following the 2006 release of Plans and the rise of the popularity of 'nerd' Seth Cohen from the OC who praised the band at every oppurtunity (There was certainly a fine line between actor and character there), DCFC, whether intending too or not, found success in the dreaded mainstream. This seems as good a time as any to mention my run in with, well rather viewing from afar of the band at a taping of Channel 7s Sunrise. After being incredibly disappointed by the over 18 nature of their gigs, I was so desperate to catch a glimpse of them, I skipped school and headed down to the Martin Place Channel 7 studios. Mel and Koshi did a horrible interview with a very bitter Ben Gibbard (lead singer) and slightly more excitable Chris Walla (guitarist). With every mention of The OC Gibbard looked ready to leave the set, and personally I was hoping he may even get a little violent with Koshi, especially at the mention of The OC being his favourite show (who wouldn't pay good money to see that??!!). With the release of new album Narrow Stairs it was a chance for the band to test/get rid of their new found fans. The songs are not as immediately catchy as Plans, but give it a few listens and you'd be surprised which tunes get stuck in your head.
Bixby Canyon Bridge has that same atmospheric build up as other album openers, but just when you think, ahh, typical high pitched Ben Gibbard speak-singing over an airy guitar riff, bang! guitar and drums pounce out of your speakers and Gibbard's vocals are thicker, louder, more reverb-y and more urgent. The echo in the end of the song grabs your attention, building up your anticipation for the new harder, faster and more experimental DCFC.
The album seems to showcase the members of the band rediscovering their instruments. I will possess your heart is a perfect example of an organic jam session which has you uncontrollably foot tapping/head nodding. Stuff the radio edit, the instrumental opening is an integral part of this 8 minute gem. Improvisational guitar riffs, steady drum beats and thumping piano melodies dominate the first two tracks. It's certainly harder and much more interesting than the DCFC you knew on Plans. Just when you think the album is really going to get mind blowing, No Sunlight happens. It just doesn't feel as original and is much brighter, really too bright for a DCFC song.
Where Gibbard lacks in looks, he makes up in his ability to write brilliant lyrics. By track three however, I thought Gibbard's razor sharp wit had given into poetic obscurity, especially after listening to Long Division where the chorus is literally about remainders. But then after actually listening to the words of Your New Twin Size Bed, I proclaimed Gibbard's poetic genius returns! The upbeat melody makes a song about defeat and loneliness (a common theme in the album), somewhat optimistic. As for slower tracks, The Ice was getting Thinner is one of those songs that you listen to when your depressed, and it makes you even more depressed. And that's a good, yet tragic indication, of a great, classic death cab song. It works in the same way that the pared back acoustic guitar did on Plans' I will follow you in the Dark.
Second single Cath and Pity and Fear are tracks where Gibbard decides to lower the pitch of his vocals. Honestly, it makes the band sound like amateurs who record there songs in the garage and post their tracks up on myspace in hope of getting the attention of a major label or rather free beer and hot groupies. Alas, I warn do not entirely dismiss Pity and Fear (like I did). The last half is so dramatic and different to anything I've ever heard from DCFC, it makes up for the painful beginning and ends the album on a nice, well really a different, breath of fresh air-esque note.
VERDICT: Narrow Stairs is certainly a step away from the direction of Plans, and really from anything in Death Cab For Cutie's extensive back catalogue. Ending on Pity and Fear, which is distinctly different from any other song on the album, only shows that the band are far from running out of ideas. The band are experimenting with their instruments, Gibbard's lyrics are more mature and his usual bleak self has either been softened to a melancholy, or rather the brighter melodies have made them seem so. As a result the tracks are like chalk and cheese, and the album as a whole lacks cohesion. But, although the melodies may sometimes run against each other, in tracks like I will Posess Your Heart the band are very much on the right track. This album is definetly worth a listen if you wish there was more depth and more shades to indie pop, but you still love those darned catchy pop hooks.
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