HEAVY MUSIC HISTORY: Transatlanticism – Death Cab For Cutie

Whilst you might not recognise the title for DEATH CAB FOR CUTIE‘s fourth album, you definitely recognise the artwork. A soft-focus painting of blackbird tangled in red string against a striking yellow background, the image perfectly captures the melancholy tone of the album. A concept record about a long-distance relationship, Transatlanticism arrived at a time for the band where they had already been going for almost half a decade, which resulted in tensions growing between them. After regrouping in 2002 after some time apart, DEATH CAB FOR CUTIE would record their fourth album in five-day stretches until June 2003. This was the band’s comeback album. And what a comeback it was.

The New Year starts off the album. The lengthy instrumental introduction, comprising of a crashing of drums, guitar and bass, do overwhelm the first verse, making it hard to hear it. Whilst this happens throughout the song, there are moments of clarity, such as the second verse. The melancholic lyrics set the tone for the album, such as the chorus declaring that the narrator they “don’t feel any different”, despite the new ring being rung in.

These types of lyrics run through the album. Despite its title, Lightness is not a light song, lyrically, as the narrator is in deep contemplation. The instruments are light and sparse, allowing the words to tell the story. Title and Registration makes the simple act of looking through a car’s glove compartment an ordeal as the narrator reflects back on a past love.

Whilst this album is a very sad lyric-wise, there is also a beauty in the pain. This is thanks to vocalist Ben Gibbard, who wrote all the lyrics to the album. The way he can capture the pain of relationships and make them timeless is a true art form in itself. Furthermore, sonically, the album is not a straightforward indie-rock album. It utilises a lot of different techniques to create some gorgeous-sounding music. For example, despite the sad lyrics of The Sound of Settling, the upbeat instruments are so infectious, you can’t help but get up and dance to it. The added handclaps are an added bonus to the fast-paced tempo.

There is also the slow guitar riff and drum beat that play throughout Tiny Vessels, which is about the pain of breaking up with someone, which is often not considered when a relationship ends, as all the focus is on the one that is heartbroken. The title track is the longest, at almost eight minutes in total. It is a sombre song about missing someone when they are away from you. However, it could also be interpreted in many different ways: it could be about a long-distance relationship, or about wanting to be with a loved one who has passed away. The beauty of the lyrics of this album are that they are open to interpretation. The singalong bridge at the end of the song is enough to make you tear up as the drums build up pacing as the narrator pleas with their loved one to re-join them, but their cries go unanswered.

In fact, the pacing of the album is superb, as it is mostly slow-paced. However, the short bursts of up-tempo songs do not sound like they are in there for the sake of having a few joyful moments. Each song is in there for a reason, and it is a key reason why Transatlanticism works so well as a concept album. Having the songs revolve around a theme means that whilst they work well on their own, they also work well as an album.

We Looked Like Giants is a fast-paced rock song, and it’s this youthful energy that emphasises the lyrics, which look back on the halcyon days of yesteryear with a melancholic eye. Closing song, A Lack of Color, is an acoustic song that is about looking on the bright side of life. It is an upbeat song that deceives you at first until you realise that the lyrics are telling a sad story about the hesitancy of getting into a relationship. And yet, it ends on a note of hope, as the narrator declares that their love is “fact, not fiction”.

At the time of its release, the album earned critical acclaim, with AllMuisc giving it 5/5 and declaring it a “good listen from start to finish”. However, Pitchfork were more critical, giving it a 6.4/10 upon its release, declaring that the lyrics were generalised, although in 2013, they did reissue it with a score of 8.4/10. Despite the critical acclaim, the album only reached Number 97 on the Billboard Top 200, although it faired better in the independent albums Billboard charts, where it reached Number 8. For its ten year anniversary, the band re-released the album to include a demo version of the songs. Despite the band releasing six more albums afterwards, none of them, bar from 2005’s Plans, have reached the same status of love as Transatlanticism has.

Overall, Transatlanticism is a tour-de-force. DEATH CAB FOR CUTIE have crafted a narrative that is timeless, and this means that the album holds up, even 20 years later. Whilst it is an album that is extremely sad, there is also love, hope and joy as the album explores the complexities of relationships. The music is unique and multi-layered. However, the lyrics are the true star of the show. They are heart-wrenchingly beautiful, sad, and also vague enough to be open to interpretation. They hold the album together. This is the definitive DEATH CAB FOR CUTIE album, and one that is still loved to this day. It is an ode to relationships, no matter their messiness or complexities. Most of all, it is an ode to love.

Transatlanticism was originally released on October 7th 2003 via Barsuk Records. 

Like DEATH CAB FOR CUTIE on Facebook.