It has been three years since the last Death Cab for Cutie album. The 2015 Kintsugi was a transitional album for both Ben Gibbard and the band. For starters, it chronicled Gibbard’s recent breakup and move back to his home city (Seattle), but more importantly, it was the first album not produced by Chris Walla. Instead, the band looked outside to Rich Costey (Muse, Sigur Rós, Interpol…).It has been three years since the last Death Cab for Cutie album. The 2015 Kintsugi was a transitional album for both Ben Gibbard and the band. For starters, it chronicled Gibbard’s recent breakup and move back to his home city (Seattle), but more importantly, it was the first album not produced by Chris Walla. Instead, the band looked outside to Rich Costey (Muse, Sigur Rós, Interpol…). The result was a less cohesive and slightly underwhelming collection of songs. Fans and critics agreed to give them a pass, but the expectations for Thank You for Today are higher than ever.
Thank You for Today is Death Cab for Cutie’s ninth studio release, and the first featuring an expanded line up. Dave Depper and Zac Rae (touring members during the Kintsugi tour) were added as full members to replace Chris Walla. Both bring in a fresh perspective as well as a brand more collaborative work dynamic.
Thank You for Today opens with “I Dreamt We Spoke Again,” a dreamy ambient-pop track that sets the tone for the entire album: ethereal melodies paired with contemplative lyrics.
“Summer Years” starts with a jazzy drum beat, looping under Radiohead-esque arpeggios and Ben’s soft voice. The lyrics are simple and melancholic.
“Gold Rush” was the album’s first single and stands out from the other tracks as possibly the most upbeat. The lyrics try to make sense of the changes brought forth by hyper-gentrification in Seattle. Interestingly enough, the single was released at the time as it was announced that one of Seattle’s most iconic and historic music venues would be sold to make way for condos — a change Gibbard is fighting (along with other musicians and local politicians). Musically, it’s Death Cab’s most experimental song within an album since “I Will Possess Your Heart,” as it’s the first to be based around a sample (Yoko Ono’s “Mind Train”).
"Your Hurricane” and the next few songs pick up where Kintsugi left off. Thoughtful. Beautiful. But not as experimental as the first few tracks. “When We Drive” reminds me of Arcade Fire’s “Rebellion (Lies).” But that’s just me!
After “Autumn Love,” the albums picks up the pace and returns to the ambient sounds of the first few songs before ending on a more sombre note with “60& Punk,” a piano ballad about an unnamed hero and friend of Gibbard who is struggling with burn out and addiction.
It’s clear that Death Cab for Cutie was not afraid to push some sonic boundaries to mark the start of a new era for the band, honouring their rich 20-year history but strategically looking to the future by exploring unchartered themes and sounds. This album is no Transatlantisism, but will more than likely be embraced by the self-proclaimed "early Death Cab” fans and new fans alike. Critics may end up giving it lukewarm reviews, but at the end of the day, this is a band less interested with producing hits and more interested in embracing the luxury of being able to release music they enjoy making and playing live.… Expand