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▓▒ Death_Cab_for_Cutie-To_The_Ground-SINGLE-WEB-2019-ENTiTLED ▒▓
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░ artist........ | Death Cab for Cutie ░
title......... | To The Ground
label......... | Atlantic Recording Corporation for the United States a
genre......... | Indie
rip date...... | 2019-08-15
retail date... | 2019-08-16
runtime....... | 05:15
tracks........ | 1
size.......... | 12.44MB
quality....... | 320kbps 44.1kHz
░ codec......... | MP3 (MPEG-2 Audio Layer III) ░
▒░ encoder....... | LAME ░▒
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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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▓▒ https://play.google.com/store/music/album?id=Bkuydruzu5mfwqppxlpxz2dxd6m ▒▓
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