Album Review: Death Cab For Cutie-Codes And Keys

Posted On: May 31, 2011
Posted By: odeisel
Comments: 0

By Factory James

Death Cab for Cutie returns with full force and full hearts on their seventh studio release, Codes and Keys. The new album creates a 3 dimensional landscape of keyboard centric sounds, echoey vocals, and a refreshing positivity that starkly contrasts previous material.

The first track, “Home Is a Fire,” stacks pulsing beats atop rattled cymbals; reinforcing Ben Gibbard’s reflective lyrics on the concept of home and inevitable change. The quiet surge of guitar flows like a fast drive on a dark night and relieves the jitters that rise from the percussion.

Title track “Codes and Keys” is easily one of the stronger tracks on the album with pounding keyboard tones over heavy kick drums. The stringed orchestra soars in a second before the first verse and just in time for perfection. Gibbard noted recently in Spin,

Everything I write is reflective of my own life and the lives of those people around me…They reflect the conversations you have and the rumblings of life around you.”

This could not be truer of a song whose entire last minute repeats: “we are alive.”

“Some Boys” layers ringing piano chords, panting, and vintage vocals into a short love-em and leave-em anthem. “Some boys are sleeping alone/ Cause there’s no one that’s keeping them warm through the evening/ They know that they’re on their own,” translates well illustrates just how emotionally empty the one night stand can be. What sounds like a clean, DI’d Strat, which rarely has sonic appeal, begins the slow building of what becomes a haunted structure of sound in “Doors Unlocked and Open.”

The first single released off the album, “You Are a Tourist,” has a catchy radio-friendly quality about it, and oh yeah, it’s really damn good. “Unobstructed View,” a track reminiscent of the group’s earlier work, slows down the tempo and lets the music take center stage. Although it drags in spots and is overly ambitious in others, the band’s composition skills are solid as ever and are particularly evident here.

A crunchy snare and poppy beats bring the mood back with “Monday Morning” (a song clearly written about Gibbard’s bride and indie darling Zooey Deschanel) and also proudly displays Gibbard’s lyrical balls. The syllables in the chorus, “… And when you’re lookin’ in the mirror what you see is gonna astound you,” somehow work in an awkward and beautiful way. The next few songs keep the mood poppy and comfortable. “Portable Television,” is upbeat like an old piano sing-along and manages to throw in a few “ohh ohh ohhs,” while “Underneath the Sycamore” embodies the quintessential Death Cab sound.

“St Peter’s Cathedral” lacks the playability of the others. The ethereal sounds and little drummer boy “bum bum bums,” seem like they’re trying too hard to reach some spiritual level. They fail in their attempt. The final track is the resolve to a story of previous anxiety, new loves and changes. “Stay Young, Go Dancing” is a bit cliche and would be fitting in a romantic comedy.

The entire album has a vintage vibe and showcases the band’s knack for sound versatility thanks to bandmate and producer Chris Walla. This album may not be what die hard fans had hoped for from the traditionally melancholy group, but it’s a solid step forward and nice addition to the Death Cab catalogue.

Out of 5

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