Without further ado, ALL HAIL TRANSATLANTICISM!
Where does this stuff come from? After three albums of low-fi, indie-shoegazer anthems, Death Cab decided to design an album that flows from beginning to end, rather than a collection of songs--with beautiful results.
...And your point is? The album is a loose depiction of the narrator's life after his girlfriend abandons him in favor of the promise of Eurasia. The resulting effect of being separated by an ocean is the invented word, "Transatlanticism." The narrator reminisces about the good times they had, is plagued by reminders of their former connection, and ultimately blames his ex-lover for his current disposition. Various vignettes of melancholia and yearning lead to the two-part finale--the jarringly aggressive "We Looked Like Giants" and the slow unfurling of "A Lack of Color--where the narrator realizes that his actions drove his love away, leaving only himself to blame. It's a unique take on the standard "emo" fare, one that is both touching and thought-provoking--without being cliched.
Tell us what you really think (my 50-word review). DCFC’s ”Transatlanticism” is an amazing exercise of combining polar opposites. Emo without the whining, introspective verses with huge choruses, and catchy with brains; the album’s triumph comes from its modesty. Simple electric-acoustic songs tied together with ambient sound take the listener on a journey into multi-layered heartache. Repeat listens demanded.
If you only listen to one song on the album... Choose the title track, "Transatlanticism." Not only does it encapsulate the plot of the album, it provides a sonic blueprint--minimalistic sound effects giving way to plaintive melodies and a slow-build to stadium-worthy resonating chords and an iconic chant. If any song can capture the entire breadth of Transatlanticism, look no further than this terrifically epic tune:
For those of you well-versed in Death Cab, what's your take on this LP? And for the uninitiated, are you encouraged to learn more? Sound off!!!
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ReplyDeleteOn a serious note I can't get into concept albums very often. It's my fault completely for lacking the attention span.
ReplyDeleteThat's what's great about this one. It's more a collection of like-minded songs than anything, so it's pretty easy to get into. You should give it a whirl.
ReplyDeleteI've never heard this album, aside from the posted track "transatlanticism" that I just listened to. Very good track; it evokes strong images and moods.
ReplyDeleteI like the idea of a concept album being rather casual as concept albums go. Most albums referred to as "concept albums" are anything but casual or subtle. They are complex, grandiose, dense, and trying to understand the storyline or meaning feels more like a homework assignment to me than an enjoyable music experience.
I would like a concept album that is tied together not only by lyrical themes, but also by sound themes. It seems to me sound themes are the most powerful way to tie an album together. For example, I think Murder by Death's "Who Will Survive and What Will Be Left of Them" is powerful because of the continuity and journey of the MUSIC more than the lyrics. Of course, there is a storyline in the lyrics, but this story is told just as much through the music as through what is actually said. It only took me two listens to fully understand everything about this album, and I like it that way. It means the lyrics are easy to understand and the music highlights the moods of the story, which gives the lyrics more power. It's accessible on a simple, instinctive level, NOT an intellectual one.
Thank the lord for bring this album to light. It is one of the best ever mused, transcribed, produced, mixed, and performed by any group of musicians, in my fair opinion. This album alone could stand the test of time, and be placed in a capsule hurtling to space to showcase what Death Cab represents. I'm glad Chuck decided that it isn't cliche'd emo but I am perplexed it is still considered some sort of EMO. I believe that this collection of songs is introspective, nostalgic look at a painful memory, which Ben Gibbard and Co. conduct themselves in a very 'I dont care if I'm the only one who will ever listen to this album" way. Most EMO bands and albums present themselves as the 17 year old kid who just cut his wrists horizontally and is screaming at everyone at the Foothills mall to look at him and his self inflicted pain...all the while waiting for his mom to pick him up in her mini-van. TRANNY, as my posse humorously refers to this album, couldn't be more different. More potent. More haunting. I always tell newcomers to listen to this album is an experience, not a broadcast. I never started to look at romantic relationships in adult manner until I heard this album, back in 2005. Yes, Third Eye Blind self title would help from time to time, but Transatlanticism nailed it right on the head. From the uncomfortable truth of communicating you aren't in love with somebody who loves you in "Tiny Vessels", to the head nodding beat of "Title and Registration", this album has the fortitude for multiple listenings...in the dark...or driving around the city at night. I will end with saying the song that will open up your soul is "We Looked Like Giants". The best song this band ever wrote or will write. I haven't listen to a song before that, on a consistant basis... removed me from whatever state of mind I was in...and place me right there with the lyrics...illustrating the scene and the emotions...like an erapturing occurance.
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