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▒ release information for : ▒
░ Death_Cab_For_Cutie-Northern_Lights_(Acoustic)-SINGLE-WEB-2019-EN ░
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artist.....: Death Cab For Cutie
title......: Northern Lights (Acoustic)
label......: Atlantic Records
genre......: Alternative
rip date...: 2019-02-15
retail date: 2019-02-15
runtime....: 03:33
tracks.....: 1
size.......: 8.2MB
quality....: 320kbps 44.1kHz
codec......: MP3 (MPEG-2 Audio Layer III)
encoder....: LAME
url........: play.google.com
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▒ track list ▒
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░ 01. Northern Lights (Acoustic) 03:33 ░
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▒ release notes ▒
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Death Cab for Cutie knew immediately that Kintsugi would fit
perfectly as the title of their eighth studio album. A philosophy
derived from the Japanese art of repairing cracked ceramics with
gold to highlight flaws instead of hiding them, kintsugi speaks
to the way an object's history is part of its aesthetic value.
"Considering what we were going through internally, and with what
a lot of the lyrics are about, it had a great deal of resonance
for us -- the idea of figuring out how to repair breaks and make
them a thing of beauty," says bassist Nick Harmer, who suggested
the name to singer-guitarist Ben Gibbard and drummer Jason
McGerr. "Philosophically, spiritually, emotionally, it seems
perfect for this group of songs."Long before they gave the album
its name, the band embarked on a process that forced them to do
things differently than they ever had before. For instance, in
the course of making their seven previous albums, the Seattle
band hadn't written much in the studio together. They had always
preferred to hone their arrangements separately, or with just two
or three of them playing at once. But when it came time to record
Kintsugi, Death Cab for Cutie went into the studio with the
openest of minds. Their willingness to try anything -- including
a twenty-minute exploration that evolved into one of the album's
finest tracks, "The Ghosts Of Beverly Drive" -- yields Death
Cab's most compelling new work in years: an album that packs as
much sonic as it does emotional wallop. Kintsugi is the band's
first time recording with a producer other than their own Chris
Walla, the guitarist and multi-instrumentalist whose talents
behind the board had helped shape Death Cab's sound since Gibbard
released the You Can Play These Songs With Chords cassette in
1997. For Kintsugi, they worked with Rich Costey (whose
production credits include albums by Foster the People, Muse,
Vampire Weekend, Chvrches), recording at his Los Angeles studio
Eldorado over the course of twelve weeks in the first half of
2014. "He was all in in a way that I don't think a lot of
producers are nowadays," says Gibbard. "We couldn't have landed
on a better collaborator for this record. He accomplished what
we've always attempted, which is to make Death Cab sound on a
record how we sound live. And we're a rock band live. The
difficulty now for the live show is making them rock as hard as
they rock on the record. That's a new quagmire for this
band."Work on Kintsugi began back in early 2013, as all Death Cab
LPs have, with Gibbard writing and demoing the songs on his own
before arranging and recording them with his band mates. They
initially convened in fall of 2013 at Walla's Hall Of Justice
studio in Seattle. Ten days into recording, Chris decided to step
down as producer. Says Gibbard. "Nothing dramatic, he just said,
'I don't think I'm the right guy to do this album and we should
find someone else.'" The band all felt that they needed to shake
things up a bit. "We challenged each other more and left no stone
unturned. That was as gratifying as it was frustrating at times,
but I couldn't be happier with the end product," says McGerr.
Walla has since decided to leave the band but participated in the
recording process as fully and vitally as he had on their
previous albums. In fact, Costey didn't even know Walla was
leaving the band until after Kintsugi was finished. Chris played
his final show with the band in September at Rifflandia Festival
in British Columbia.When they started recording, there weren't
any rules at all. They'd work on a song for a while and then
regroup with Costey to figure out elements to expand or
elaborate. "These guys have a chemistry that's existed for a long
time, and that chemistry can't be ignored," says Costey. "When
you have a band that can play as well as they can play with each
other, having them jam together in real time can actually be the
quickest way to try a bunch of ideas and get them on tape." Songs
such as the instantly memorable "Good Help (Is So Hard To Find),"
the warm and vulnerable "Little Wanderer" and the brooding lead
single "Black Sun" were all tracked with the four members of the
band playing together in a room, reacting to each other in real
time, adding layers -- and later subtracting some. "All four of
us being on the floor together in the studio was something that
hadn't happened in years, because Chris was always behind the
glass or in the control room," says McGerr. "But this was more
like when we're onstage, where everyone has their eyes closed and
we're playing in the moment. With 'The Ghosts Of Beverly Drive,'
it turned into a twenty-minute thing they captured in the control
room on a two-track. We had started it in Seattle months prior
and it just wasn't getting there. Rich brought us into the
control room and was like, 'This is our song.'" Costey credits
another element of their production set-up with helping achieve
the perfect balance of their classic approach and the new one:
"My studio has one big live recording space and two control
rooms," he says. "Once we got basic tracks together, Chris would
work on them in the other control room. And he would end up doing
completely different versions of the songs. For 'Black Sun,'
Chris did all this super old school sequenced synth stuff that we
used on the final track, and it really brought that song to
another level." "Black Sun" is also a perfect example of
Gibbard's customarily honest, fearless approach to writing about
affairs of the heart. "'Black Sun' is about divorce and the
ugliness and conflicting emotions that come with that: anger,
sadness, finger-pointing, acceptance, forgiveness, understanding.
To me, the idea of a black sun has multiple meanings: The black
sun could be an eclipse, where one thing eclipses another. The
sun is supposed to be a radiating light on the world but in this
instance it is blacked out. We've all been that at some point in
our life when we're supposed to be shining upon someone giving
them support, but for some reason are unable to do that. I am the
black sun, and the song is as much an indictment of myself as
anything."Although, in the case of "Black Sun," Gibbard says he's
willing to elaborate on the elements of the song that are
autobiographical, he's never been one to reveal the precise
meaning behind his lyrics. "I know that people will assume these
songs are about certain things, and in some instances they are
going to be correct," he says. "But I'm not going to give people
a road map."Gibbard acknowledges that, early on in the process of
writing this group of songs, as he was still trying to make sense
of the major changes happening in his life, he had to remind
himself not to change his creative process. "If there's a reason
people can relate to my songwriting, maybe it's they feel like
they're getting an honest, fearless approach to writing about
affairs of the heart. I'm certainly not going to censor that just
because people think they know something about my personal life.
I would be cowardly as a songwriter and not be true to what I've
always done if I shy away from these events in my life because I
was in relationship with a public figure."I know the lyrics
aren't 100% fiction and they're not 100% nonfiction, and only Ben
knows what that blend is," says Harmer. "But with this group of
songs, I do think he is writing from a genuinely vulnerable and
honest place and I'm proud of him for putting himself out there
and being fearless about it."One of the songs on Kintsugi that
Gibbard says he holds closest to his heart is "Little Wanderer,"
where he sings, "You sent a photo out of your window of Paris of
what you wished that I could see. But someone's gotta be the
lighthouse and that someone's gotta be me." He explains: "There
are innumerable songs about, like, 'The road ain't no place to
start a family.' 'Home Sweet Home' by Motley Crue, 'Gone Til
November,' by Wyclef Jean, and so on. But nobody ever writes a
song about sitting at home, waiting for someone to come back. And
for so much of my life, I've been the one off somewhere in the
world trying to maintain a connection through digital portals.
Now, being with someone who travels pretty much all the time, I
feel like I've gotten a taste of my own medicine. All the songs
are personal, but that one is personal in a way that is very
tender to me." Here, too, "The Ghosts of Beverly Drive"
encapsulates important elements of the album's larger theme --
embracing flaws and being open to change. "If only you had known
me before the accident," it begins, "for with that grand
collision came a grave consequence." Says Gibbard: "There's this
charade you play with someone when you start seeing each other,
that no one has ever made you feel this way before," says
Gibbard. "'The Ghosts Of Beverly Drive' is about when you say to
the person you're with, 'Let's just acknowledge that we are not
the first people to feel this way. Let's be honest with each
other that we've been in love before or that we've fallen out of
love with people before, and that's OK.'"
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▒ greetings ▒
░ ░
░ Shout out to all of those who keep the dream of the scene alive. ░
Special thanks to those who have paved the way and parted.
We miss you!