Death cab cutie transatlanticism zip file

Innings Festival really squeaked it in just in the nick of time. One of the last things I did before the world shut down was fly from Cleveland to Phoenix so that I could hit up the Innings Music Festival in Tempe Arizona at the end of February in On the one hand, I was already nervous and scared about the pandemic. I had no idea how bad things would get, but I was already freaked out.

Somehow buying embarrassing amounts of canned chicken, dry macaroni noodles, and jars of bland grocery store marinara made me feel prepared. I'm still not sure what I was preparing for with those purchases. Did I think the pandemic was actually going to score me an invite to the world's worst potluck? Now that I think of it, maybe there's a way to make a chicken-macaroni-marinara baked dish that would be good.

If I ever attempt it - I won't - I'll be sure to report back. Anyway, times were weird. I was fearful. There were six other fellow dads flying out to enjoy the festivities with me, so I made the choice to go ahead with the plan. It was our second year hitting up this festival designed to correspond to the beginning of spring training in Arizona. It also aligned with the aging, somewhat crusty population of baseball fans and their - or should I say our - music tastes.

It's the kind of festival for people who used to like cool music that other people didn't know. But the bands got successful and most people have heard of them now.

I'm in my 40s and we're at an age where we not only can't read the smaller printed names on most festival posters, we wouldn't recognize most of them even if we could get our eyes to focus enough. Go check out the concert poster for Lollapalooza in Chicago this year with its eye test fonts getting smaller and smaller as you go down the list with lesser-known artists. Then check out the Innings Festival poster.

That poster only has two font sizes. Big and bigger. They know their audience, I tell ya, and when I read the names of the bands that have played the two years, you'll get it. It was awesome. Incubus puts on a show just as energetic as the one they did 20 years ago. I still listen to new music, but for me, this is an awesome collection of concentrated classics. The Innings Festival was very different, but it was in the same ballpark.

Get it? Whooo boy. Dad jokes abound in my world. Anyway, was even denser in terms of headline-level performers. And yes, the lead-in band for Weezer on Sunday night was Death Cab for Cutie who we're here to talk about today.

Except Death Cab didn't make it through four songs before lead singer Ben Gibbard dropped his guitar to the ground in frustration and walked off to end the show.

He just couldn't sing. Having seen Gibbard and his band many times throughout the years, I could tell as he was singing the first song that something was wrong.

The audience was disappointed, but nobody seemed angry. It gave us all a chance to start the minute walk across the grounds of Tempe Beach Park to the other big stage to see Weezer. They're a band from Seattle, after all, and this was late February into the first days of March.

We made every effort to step on stage and play music for you tonight. Unfortunately, Ben came down with a severe illness during the week that required canceling his solo show on Friday. We were hoping he would be well enough to play a set tonight, and so we tried.

But after the first few songs, his voice gave out completely and we had to leave the stage. We sincerely apologize for this, cancelling a show is always the last possible choice we want to make. But sometimes it is a choice that has to be made. Thank you for understanding and thank you for your support. We'll never know for sure, but by March 17th when the world was essentially shut down and Ben Gibbard started playing sets from his home studio live on YouTube, we had a little more clarity.

Those first few days when he played Live From Home, Gibbard couldn't contain his coughs. More than two weeks since he'd been forced to walk off the stage with his bandmates in Tempe Arizona, Ben Gibbard still couldn't sing a quiet acoustic set without coughing.

Of course, he was never able to get tested in those early days, and because he wasn't in any danger at that point, it didn't make any sense to force the issue, so we'll just go ahead and assume he had it.

He addressed it on Day 2 of his livestream about how it started as a dry cough on February 26th, followed by four days of rolling fevers over degrees. Skip to the 7-minute mark in the video below. And none of this is what I'm really here to talk about today, because today is all about Transatlanticism.

But it's hard to talk about Transatlanticism without also discussing who Death Cab for Cutie are today after Transatlanticism took them to a new level. I just find it all so interesting because for a huge portion of Death Cab for Cutie's career, they weren't supposed to be this much in the spotlight. They weren't the band that was going to play big festivals like Innings.

It wasn't at all self-evident that Death Cab would be a big band someday. From the early years in the late 90s and into the early s, Death Cab for Cutie were a somewhat slovenly indie rock band with huge dynamics and very slow tempos playing through muddy-sounding PA systems. Back in those early days in the early s when I saw Death Cab playing for dozens of fans at The Middle East in Cambridge Mass or even a few years later playing for hundreds on the Death and Dismemberment tour with The Dismemberment Plan, we never could have known that Death Cab for Cutie would become this band.

That all changed with Transatlanticism. It was an album, as opposed to a collection of songs. It captivated people in a way that made them fans for life. It gave Death Cab for Cutie a much bigger audience and a record deal with a major label. I'm getting ahead of myself. So let's dive into Transatlanticism. Transatlanticism is the fourth studio album by Death Cab for Cutie. McGerr has now been with the band 18 years and counting, so it's easy to forget that Death Cab was once known for having trouble keeping their drummers.

McGerr has solidified the Death Cab lineup, but we had no idea that would be the case. So let's talk about Death Cab drummers a bit. I grew up as a mediocre drummer, but just because I never became phenomenal doesn't mean I don't understand it. I can hear drumming in a way that allows me to be a pretty good judge. It was one of the first things that drew me to Smashing Pumpkins. I have an ongoing conversation with a very good friend of mine about how Cloud Nothings and Deafheaven Sup Andrew?

I spent way too much time in my teenage years talking about the differences between Primus drummers Herb and Brain. Back to Death Cab drummers. Having listened to Michael Schorr's drumming on records and live, I have to say the guy has talent. Jason McGerr has loads of talent as well, but there's a noticeable difference between the two, stylistically. His career with Death Cab is so intent on serving the song, that he doesn't seem to go out of his way to show you how talented he is.

Schorr had more of a flair and it seemed to me that he played like he wanted the world to know how good he was. When you listen to some of the more frenetic drumming on The Photo Album, while much of it works, it's hard to imagine that same guy finding the pocket as well as McGerr and the band did on Transatlanticism.

The groove on Title and Registration is an exercise in forceful subtlety behind the kit. We will get into the song Transatlanticism itself later, but any drummer I've ever met in my entire life would have tried to add drum fills all over the place to accent the huge choral finish. And yet McGerr isn't necessarily hiding, but he lets the song play with his dutiful, bombastic quarter eighth notes leading the way. Transatlanticism came out in October of For those who don't know, a CD-R is a round metallic looking thing made of plastic that used to be used to hold music or data.

It came after the audio cassette and some of us were dumb enough to think they'd last forever. There used to be entire stores dedicated to selling these things called CDs. Alright, I'm now being an asshole. The culmination of that was this unbelievable album called Give Up.

I only point that out to say it was very much on the radar in ways that Death Cab for Cutie had never been in their career to that point. In a lot of ways, the Iron and Wine version is the most common version of the song anymore. It's that great of a song that it can be translated in multiple ways. Watching Ben Gibbard take off with a project that wasn't Death Cab made us nervous about the future of the band that we loved. And by some of us, I probably just mean me and maybe one other person I knew.

Back in when all of this was happening and before we knew that Transatlanticism was on the way, these were some of the prevailing headspaces that the fans found themselves in. It's impossibly slow. The vocals sound bleak and purposefully thin. Stability is also impossibly slow. It's also over 12 minutes long. These are not sales moves that are going to make you millions of dollars or widen your fanbase. It gives you something extra to sell at your merch table between tour stops with your friends in the Dismemberment Plan while doing something called The Death and Dismemberment tour.

I'm not being critical. I loved The Stability EP. I would have counted many of those as my favorite Death Cab songs at that point in their career. It was completely free and un-self-aware. When Death Cab get a chorus together to sing "I won't mind" at the end of Stability, it's a perfect indie rock moment.

But contrast it with what happened when Give Up came out and Ben Gibbard is now kind of a pop star. I was really happy for him and it was cool to see a songwriter I loved become validated even if it wasn't the songs I fell in love with from the very beginning. Still, I felt like I was poised to lose something I really loved.

I was a sad sack lonely guy in my 20s as it was, so playing the part of the music snob who loved Death Cab before The Postal Service was part of my undesirable brand. That show I was talking about? I went to that show by myself. The Photo Album Information Travels Faster. Blacking Out The Friction. The Stability EP Transatlanticism Title And Registration.

Death Of An Interior Decorator. We Looked Like Giants. The John Byrd EP Plans Marching Bands Of Manhattan. Someday You Will Be Loved. Brothers On A Hotel Bus. Narrow Stairs I Will Possess Your Heart. Your New Twin Sized Bed. The Ice Is Getting Thinner.

The Open Door EP A Diamond And A Tether. Codes And Keys Doors Unlocked And Opened. Underneath The Sycamore. Peter's Cathedral. Stay Young, Go Dancing.

Unobstructed Views Unicorn Kid Remix. Codes And Keys Yeasayer Remix. Kintsugi No Room In Frame. Black Sun. The Ghosts Of Beverly Drive. Little Wanderer. Hold No Guns. Everything's A Ceiling. El Dorado. Binary Sea. Thank You For Today I Dreamt We Spoke Again.

Summer Years. Gold Rush. Your Hurricane. When We Drive. Autumn Love. Northern Lights. You Moved Away. Labels: alternative , atlantic records , Death Cab For Cutie , indie , pop , rock , washington. Anonymous 11 November at Unknown 12 November at Conor 16 November at Anonymous 24 November at AM:FM 24 November at Anonymous 2 December at Anonymous 7 July at Bernard 22 July at Anonymous 26 August at Anonymous 22 September at Unknown 18 October at Unknown 5 January at Anonymous 21 February at