Martinez Tribune The website of the Martinez Tribune.
BY XAVIER JOHNSON
Indie rock standouts Death Cab For Cutie just dropped their first studio album since the pandemic began, providing a comforting sound in the wake of a trying time.
The band has defined the sound of indie rock throughout the 2000’s, rising to prominence with the landmark records Transatlanticism and Plans. Since then Death Cab has established itself as a leading voice in indie rock.
As veterans in the game, Death Cab’s distinct sound is immediately recognizable. There’s a timeless quality to many aspects of the band’s new record Asphalt Meadows. Each song is distinctly Death Cab. The sound of the record is a culmination of the different sounds found throughout the band’s 20-year career; for better and worse.
As the only member that’s been with the band from the beginning in 1997, Ben Gibbard’s iconic voice is as beautiful as ever. The 46-year-old frontman adds color to the existential lyrical musings on the record’s 11 tracks. Gibbard shines during the many soaring choruses. Notably in “I Miss Strangers” and “Wheat Like Waves,” Gibbard perfectly melds with the instrumentation to create truly transcendent moments.
“I Miss Strangers” is an incredible track that deserves a spot in the pantheon of Death Cab tracks alongside “Soul Meets Body” and “Transatlanticism.” The guitar immediately commands the listener’s attention with a nifty little riff and crunchy tone. A driving drum beat backs up the track acting as the engine of the song.
The excellent chorus highlights the power of Death Cab’s songwriting. “I Miss Strangers” has a catchy chorus that’s immediately singable after hearing it only once.
Gibbard sings, “but these days I miss strangers/ more than I miss my friends/and the waves of conversations breaking/on the shores of my head again;” a line that resonates with a post-pandemic world where years were spent in isolation. The contemplative nature of Death Cab’s music takes on a new meaning coming off a global pandemic that forced people to look their mortality in the face and evaluate the importance of interpersonal connections.
A spacious bridge does break up the momentum built in the first-half of the track, but it’s not a bad decision. The heavenly tone is soaked with reverb and shimmering melody. The bridge leads into a final chorus that bursts with energy. This contrast justifies the existence of the bridge, giving the song a dynamic quality.
“I Miss Strangers” comes in the midst of an incredibly strong second half of Asphalt Meadows. The record peaks as the tracklist progresses.
For all the timeless qualities within Death Cab’s music, there are some dated moments. Indie rock has the ability to become laden with tropes when listened to in large quantities. As one of the groups that defined this sound, Death Cab does occasionally sound generic when every aspect of a track doesn’t connect.
The album’s low point is largely found on the front half of the record where Death Cab leans heavier into implementing electronic sounds. It’s not a new thing for the band, they’ve spent much of the 2010’s experimenting with production; bringing new sounds to the well-worn indie rock vision.
However, many of these attempts come off poorly. On Asphalt Meadows, the first two tracks exemplify this issue. “I Don’t Know How to Survive” and “Roman Candles” are tracks that are hurt by the electronic elements; stripping away what makes Death Cab songs incredible. The band excels in the little moments, using small flourishes and tempo shifts that keep the song structure fresh and reward multiple listens.
That dynamism isn’t as present in the first two songs. It’s not handled as cleanly as it’s done on Gibbard’s 2003 side project The Postal Service. The noisy sound profile fills the sonic frame, not like a detailed renaissance painting, but like static on an old television.
The quality of the record quickly picks up starting with the title track “Asphalt Meadows.” This track handles the various elements much better than the first two songs. The punchy drums and echoing guitars of the verses are beautiful. Another solid chorus makes the track instantly memorable.
Asphalt Meadows doesn’t slow down after the titular track. Every cut after that point is solid with its combination of strong choruses, dynamic instrumentation, and hopeful lyrics.
Death Cab can’t be touched in the indie rock space. This group of veterans knows how to write a song. Despite a couple of minor low points, Asphalt Meadows is filled with highs. After four years of lying dormant, Death Cab mints another powerful album that adds to one of the best discographies in rock music.
