Death Cab for Cutie | |
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 Death Cab for Cutie performing inDüsseldorf, 2015 | |
| Background information | |
| Origin | Bellingham, Washington, U.S. |
| Genres | |
| Years active | 1997–present |
| Labels | |
| Spinoffs | |
| Spinoff of | |
| Members |
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| Past members |
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| Website | deathcabforcutie |
Death Cab for Cutie (commonly abbreviated toDCFC orDeath Cab) is an Americanrock band formed inBellingham, Washington, in 1997.[1] The band is composed ofBen Gibbard (vocals, guitar, piano), Nick Harmer (bass),Dave Depper (guitar, keyboards, backing vocals),Zac Rae (keyboards, guitar), andJason McGerr (drums). The band is known for a melodic, introspective sound that blendsindie rock,indie pop, andalternative rock, characterized by sensitive, introspective songwriting.
Death Cab for Cutie emerged from thePacific Northwest in the late 1990s, spearheaded by singer-songwriter Gibbard alongside original guitarist and producerChris Walla. The group refined their sound on early releases includingSomething About Airplanes (1998),We Have the Facts and We're Voting Yes (2000), andThe Photo Album (2001). Their 2003 albumTransatlanticism marked a commercial and critical breakthrough, and, along with the major-label debutPlans (2005), helped bring indie rock into the mainstream. Subsequent albums such as the chart-toppingNarrow Stairs (2008) andCodes and Keys (2011) saw the band further diversify their sound. Walla departed prior to the release ofKintsugi (2015). The band later releasedThank You for Today (2018) andAsphalt Meadows (2022).
Over a career spanning more than three decades, Death Cab for Cutie have been described as "one of the definitive indie bands of the 2000s and 2010s."[2] They were one of the major bands associated with the rise of indie rock, with their 2000s-era output producing severalplatinum-selling albums and charting singles. The band has received numerous accolades, including multipleGrammy Award nominations.
Death Cab for Cutie emerged in the late 1990s out of thePacific Northwest independent music scene, spearheaded by singer-songwriterBen Gibbard. The group first formed inBellingham, Washington, a smallcollege town north ofSeattle, in 1997. Gibbard was studying atWestern Washington University and had been performing for many years in thepop-punk group Pinwheel, but began to write songs he felt were unsuitable for the project.[3] Bassist Nick Harmer, a year older, was booking campus gigs when he first met Gibbard.[4][5] Gibbard and Harmer first got their start in a band called Shed, which later became the bandEureka Farm;[6] Harmer and future Death Cab drummerJason McGerr rounded out a later lineup.[7] Gibbard met guitarist and producerChris Walla at a concert, and the two bonded over shared interests. Walla, who was writing songs himself and taking audio engineering classes, offered to help record demos on the weekends, using aTascam 80-8reel-to-reel recorder.[8] After a year, they decided to develop the project into a full-fledged band.[9]
Gibbard took the band name from the song "Death Cab for Cutie", which was written byNeil Innes andVivian Stanshall and recorded by their group theBonzo Dog Doo-Dah Band. The song is a track on the Bonzo's 1967 debut album,Gorilla, and was performed by them in the Beatles filmMagical Mystery Tour. The title was originally that of a story in an oldpulp fiction crime magazine that Innes came across in a street market. In a later interview, Gibbard expressed ambivalence over the name, suggesting that had he known the band would become successful he might have given it a better band name.[10]
They compiled acassette-only demo album, titledYou Can Play These Songs with Chords, pressing up 150 copies to sell around the small town. They partnered with a small label ran by friends called Elsinor Records for the release.[11] Shortly after completing the cassette, they assembled a provisional lineup to play ahouse show, which took place at the Pacer House in Bellingham on November 22, 1997, featuring Gibbard, Walla, Harmer, and drummer Nathan Good, a friend of Walla's.[12][13] The band signed ahandshake deal[14] with local boutique labelBarsuk Records—essentially a then "one-man operation" ran by founder Josh Rosenfield, a friend of the band,[11][15] and of Elsinor, who remained involved.[9] Rosenfield's goal was to establish an artist-friendly approach, with the band initially receiving a generous 80/20 share of the profits.[16] Overseas distribution in this era was handled by several indie imprints across the globe, firstArchitecture Label in Australia,[17] thenFierce Panda in theUnited Kingdom andToy's Factory inJapan.[18]You Can Play These Songs with Chords was later expanded with ten more songs and re-released in 2002 by Barsuk,[19] alongside Gibbard's early work under the nameAll-Time Quarterback.[20]
The four released their debut album,Something About Airplanes, on August 18, 1998.Airplanes was created at the group's rented bungalow off of Ellis Street in Bellingham.[21][22] With Walla's bedroom in the attic, the band inserted amicrophone through a hole in the floor to the living room where vocals were tracked on the Tascam.[23] It was an embryonic, anonymous time for the trio: given space to experiment and fail, they began to forge an identity though trial and error.[24] Gibbard's singing voice is more adenoidal in tone,[25] and his songwriting ranges from descriptive but obtuse.[26] The album performed well locally, and led to a sold-out show in December 1998[27] at theCrocodile Cafe—an early highlight for the young artists.[28] (It was recorded, and later issued on an expanded edition ofAirplanes).[25][29]
Their early years were a homespun,DIY affair: in addition to recording, Walla handled T-shirt designs,[8] and Harmer's mother offered the band aloan on their first van, aFord Econoline, enabling them to tour.[30] The band slept on strangers' floors and atemustard sandwiches to survive,[31][32] with any money the band made at sparsley-attended[33] gigs going towards fueling the van to drive to the next city. They once drove two days straight from Bellingham toAustin, Texas to make it to aSouth by Southwest showcase.[34] They also dealt with lineup changes. Good departed in January 1999 to focus on personal matters. In mid-1999,[35] the group relocated to Seattle to pursue music in earnest. It was a demanding period,[8] with the band more spread out physically than before, bound by financial obligations in order to live in the city.[36] The lack of a consistent percussionist hindered matters too—an interim replacement, Jayson Tolzdorf-Larson, had failed to work out[30]—and there was the real possibility of the band splitting.[21] They asked McGerr to step in on drums, but he declined.[7] Though Gibbard has characterized this period in the group's biography as "interstitial" and lacking assurance of what was to come,[37][38] they overall began to feel more experienced.[39]
At the onset ofthe aughts, the band's work was met with increasing listenership andindustry attention.[40][41] Though the band were largely outsiders to the music industry, their work was supported bycollege radio stations and set the band on a trajectory of success.[42] Meanwhile, the band set out to work on their second album:We Have the Facts and We're Voting Yes, released in 2000. Like its predecessor, it was recorded in ahome environment rather than professional studio spaces,[43] with Walla acquiring more professional recording equipment. Gibbard's songwriting began to evolve, possessing a morenovelistic approach and frequently utilizing full sentences.[44] His self-described "post-collegiate neuroses" informed itsdownbeat and despondent tone, leading many observers to lump the band as a part of the burgeoningemo scene.[39] To that point, the band once considered signing toJade Tree, theDelaware imprint that hosted many emo acts,[45] but passed on it.[46] By 2000, Barsuk had transformed into a company proper,[11] shifting its profit margin with the band to a more realistic 60/40 split due tooverhead expenses.[16] The label purchased a historic studio in the city, previously known as Reciprocal, allowing Walla to manage the space, which he namedHall of Justice.[47] It served as a recording space for the band for their next several albums, and functioned as a practice space later on.[48]
The trio had struggled to find a suitable and "competent" percussionist who would agree to tour, and settled on drummerMichael Schorr, formerly of Uncle Roscoe.[8] Schorr made his debut on the band's next release, the follow-upThe Forbidden Love EP, which began to take the band to new levels of success:[24] they started receiving national attention, with bothThe Washington Post andSpin ranking the EP among its top-ten lists in 2000.[49] The band's next effort,The Photo Album (2001), became their biggest yet: it sold over 50,000 records at that time (unprecedented for a band of their size), and single "A Movie Script Ending", a tip to their Bellingham roots,[24] became their first to chart and receive amusic video. Despite these accomplishments, the band began suffering from internal tension. The album's creation was rushed: each band member had recently left theirday jobs, with the band now their primary source of income for the first time.[39] The group had disagreements with Schorr, and Walla—who enjoyed recording music more than performing it—was feeling exhausted by the entire experience.[50] It culminated in a bitter fight at a tour stop inBaltimore in October 2001 where the band all but separated[39]—one of several near break-ups that year.[51] After commitments were complete, the band took a small hiatus,[52] where they dedicated themselves to forging a new path forward as a band.[53]
In February 2002, the band partnered with like-minded indie rockersthe Dismemberment Plan for the well-received Death and Dismemberment tour.[54] It marked a new moment for the burgeoning group: both bands on the cusp of success, playing mid-sized clubs than before but still connected to their roots, backpacking across the country in a van and staying atmotels. The band over the years have frequently remembered the outing with fondness; Harmer and Gibbard[53] have both called it perhaps the high-water mark of that era—the moment that taking the leap to being a full-time band paid off.[51] That same month, the band releasedThe Stability EP, which contained a cover ofBjork's "All Is Full of Love".[55][24] Indeed, stability was to come: later that year, Harmer reconnected with McGerr. Now a successful drum instructor, McGerr viewed it the right time to join the trio, who were unsatisfied with Schorr. In October, the band entered their rehearsal space for the first time with McGerr,[6][56] who remains behind the kit to this day. His addition brought balance to the lineup, with his calm demeanor settling their dynamics.[57]
During a break in activities, Walla continued to explore his interest in recording, producing albums bythe Thermals andthe Decemberists. Meanwhile, Gibbard began a collaboration withelectronic music artistDntel (Jimmy Tamborello). Their sole album,Give Up (released onSub Pop in 2003), contrasts manipulated samples and keyboards with live guitar and drums—a sound some described as "indietronica".[58] It was released with little promotion—its creators embarked on a brief tour,[59] but otherwise returned to their main projects.[60] But across the 2000s, the album became an unexpected, platinum-selling[61]sleeper hit: its singles charted internationally, and the LP was enduring presence ondance andindependent charts. Its lead single, "Such Great Heights", gained major traction through radio, online buzz, and licensing deals.[62][63] This experience only served to draw further attention to Gibbard's main band, and set the stage forcrossover appeal.
The group settled into recording their fourth album,Transatlanticism (2003). With Walla again at the helm, the quartet embraced a collaborative process, often deconstructing and reworking Gibbard’s demos to explore new creative directions together. The sessions fostered a positive and creative environment, with the band deliberately spreading sessions across several months and studios to allow a more relaxed, reflective process.[64]Transatlanticism weaves a sonic narrative of isolation,long-distance love, and emotional barriers; it utilizes ambience and instrumental sparseness as an extension of this theme. The album's title, likewise, references theAtlantic Ocean and uses it as a metaphor for geographic and emotional separation.[65] The album spawned three singles: "The New Year", "The Sound of Settling", and "Title and Registration".
Transatlanticism saw release in October 2003,[5] becoming their first album to chart onBillboard 200.[66] It was met with widespread critical acclaim its emotional depth and lush songwriting.[67][68] Its sales steadily climbed, eventually surpassing 500,000 copies in two years—a feat music journalistGreg Kot described as "a massive hit by indie-rock standards."[5] It has since been certified platinum by theRIAA.[61] In the interim between albums, the group had licensed its songs for usage on the popular television dramaThe O.C., which helped introduce them to a wider audience.[69] The group were repeatedly referenced as the favorite band of the characterSeth Cohen, and the band later appeared as itself in an episode ofthe second season, performing in the show's fictional music venue.[70] They became closely associated with the program for a period, both for better (the broader recognition and new fans), and worse (band discomfort and indie backlash).[71]
All of this publicity, plus the wide, concurrent success of the Postal Service,[72] led to considerably higher public interest in the group.[73] They hired their long-time manager,Jordan Kurland,[74] and the next year was spent largely on the road, with the band trading their longtime van for a bus in advance of nonstop touring.[75] They toured throughout late 2003 alongsideNada Surf,The Long Winters, andMates of State,[73] co-headlining withBen Kweller in the first part of 2004.[76] In March 2004, the band released a liveEP, entitledThe John Byrd EP, named for their sound engineer.Pearl Jam invited the band to open for them on that year'sVote for Change tour, and the band concluded the season with another domestic headlining jaunt.[77] The extensiveTransatlanticism album cycle and ensuing junket is documented in the filmDrive Well, Sleep Carefully by director Justin Mitchell.[52] All of these dates took place Stateside; touring overseas was complicated for the band, as their record label contracts were split between nine different companies there.[5]
The aforementioned distribution issues and the band's rising stardom led them to field offers from major record labels in 2004.[5] The band held allegiance to Barsuk for helping build their careers, and signed a contract for a further three-album deal with the label, so that in the event the majors came calling, Barsuk could also reap the financial benefits.[16] The band, with its softer, sometimespiano-led sound, were drawing comparisons compared toColdplay, one of the biggest global rock acts at that time, making them an attractive prospect forA&R representatives.[78] The band inked a lucrative long-term contract withAtlantic Records in November 2004.[18][79] The move suggested a shift in the perception of "indie" bands in the mainstream, and triggered accusations of inauthenticity.[41][80] The move polarized fans, who took tomessage boards to worry thatcreative control would be diminished with the corporate expectations of a major.[41][81]
As the band entered into a new phase, they set out to record their major-label debut:Plans (2005). The group recorded the album at a farm studio in ruralMassachusetts, taking advantage of their first "industry" budget while aiming to stay frugal and crafting the record as a cohesive, album-oriented experience. Relentless touring had left Gibbard creatively drained, while Walla, who had struggled with his dedication to being in the band, re-committed himself to it.Plans is a reflective,mid-tempo album[82] that meditates on mortality[18] and the impermanence of life's intentions.[83] Though the band publicly claimed nothing would change after signing to a big label, Gibbard later admitted they felt immense pressure,[39] and Harmer acknowledged that while their creative process stayed intact, the psychological weight of those expectations quietly affected them.[82] Confidence for the band's major-label move were high, with the group viewed as poised for a commercial breakthrough.[84] During this period, Barsuk remained involved in their career, with the label's logo appearing on the back cover ofPlans, and the label retaining the rights to release it vinyl copies of their albums.[18][74]
The move to a major worked:Plans propelled the band into the mainstream, making Death Cab for Cutie became one of the biggest names in alternative rock.[40] Upon its September 2005 release, it debuted at number four on theBillboard 200, making Death Cab one of the first indie rock bands to score a top five album.[78] "Soul Meets Body" and "Crooked Teeth" became domesticairplay juggernauts, reaching top spots onradio playlists,[85] while "I Will Follow You Into the Dark"—which later went double-platinum[61]—cemented its place among listeners as their biggest hit.[86] Both that single and the album also scored the quartet twoGrammy nominations, their first of many. It remains the band's highest-seller; as of 2015, the platinum album[61] has logged 1.2 million copies in the U.S.[87] The album was a favorite among music directors; virtually every song fromPlans waslicensed for use in film and TV.[87] This success made the group one of the first indie acts to break through on a broad level in the mainstream. The band toured heavily behindPlans, with a North American arena headlining set alongsideYouth Group andStars.[88] The band's 2006 tour grossed $5.9 million, with 31 out of 47 shows selling out according toBillboard Boxscore.[87] During thePlans album cycle, the quartet also made their national television debuts with performances onLate Night with Conan O'Brien in September 2005, and onSaturday Night Live in January 2006.[89] The band also staged a special benefit concert to aid victims ofHurricane Katrina at Seattle'sShowbox venue.[66]
By surviving their mainstream breakthrough without losing their identity or bond, the band gained confidence in the next phase of their career.[90] Following major shifts in their personal and professional lives, the creation of their next album,Narrow Stairs (2008), unfolded under notably different and unconventional circumstances. Death Cab had reached an unprecedented level of fame, and the promotional demands surrounding it proved taxing for the band.[91] Gibbard tackled colder, more bleak lyricism,[92] partially informed byalcohol addiction, which he overcame during the making of the album.[93] Among the darkness was its lead single, the hypnotic eight-minutejam "I Will Possess Your Heart"[36]—the story of astalker and their disturbing expectations.[31] Walla, who again produced the set, described it in a pre-release interview as a "bloody" and "abrasive" record.[94] It was largely tracked live in a messier, more disorganized process, in opposition to the constructive, technical approach to its predecessor.[95] The album spawned two more singles, "Grapevine Fires", and the rock top-10 "Cath...".[96]
Upon its release,Narrow Stairs became their biggest album yet, scaling the summit of theBillboard 200 for the first time.[97] It received positive reviews;the New York Times called it "an unsettling, confident album that reaffirms Death Cab as an increasingly rare thing: a career rock band."[98] The album was certified gold by the RIAA.[61] "Possess" nabbed a nomination forBest Rock Song at the Grammy Awards, with its parent album marking the band's second nod forBest Alternative Music Album. The band lost in both categories, but prompted debate after appearing at the ceremony sporting blue ribbons to protest against what they view as the excessive use ofAuto-Tune in the music industry.[99] They toured the U.S. withRogue Wave andStyrofoam in Europe, playing festivals likeBonnaroo,Sasquatch!, andCoachella along the way. They touredAsia and Australia before hitting the U.S. a second time withSt. Vincent and Frightened Rabbit. They also opened forNeil Young.[100] In 2009, they toured the U.S. again withCold War Kids andRa Ra Riot as support,[101] and knocked off a five-track EP titledThe Open Door.[102] The band capped a year of touring with aFourth of July gig at theHollywood Bowl alongside theLos Angeles Philharmonic.[103] Later that year, the band offered "Meet Me on the Equinox" for the soundtrack of theblockbuster filmThe Twilight Saga: New Moon,[104] which became one of their best-performing singles worldwide.[96]
The band's next album, the technologicalCodes and Keys (2011), represented a focus on softer, more ambient instrumentation. Walla was responsible for half of its musical content, and Gibbard moved to piano as his primary songwriting instrument. He adopted a more minimalistic, economic approach to lyrics,[105] aiming to keep things succinct,[94] and began writing more on piano versus guitar, which informed its timbre. During the development of the album, Gibbard wed actressZooey Deschanel, and relocated toHollywood. The pairing was subject to press scrutiny and fandom, with onePitchfork blogger calling it "some kind of fantasy indie rock love connection."[106] The sunnier disposition ofCodes and Keys took some critics by surprise, given the darker lyrical nature of past efforts, but the LP garnered generally favorable reviews. "You Are a Tourist", its main single, became the band's first chart-topper onBillboard'sAlternative chart,[107] goinggold.[61] Like its predecessors,Codes and Keys scored a nomination for Best Alternative Music Album at the54th Grammy Awards in 2012.[108]
The band has since looked back on the era with mixed feelings; Gibbard in retrospect has felt his lyricism emphasized personal detachment due to his L.A. lifestyle.[109] It precded a transitional time for the group, coinciding with Gibbard and Deschanel'sdivorce and his return to Seattle. Death Cab for Cutie announced an expanded North American tour in support of the album, launching in July 2011 and spanning the U.S. and Canada—including festival and headline dates—before concluding atRed Rocks Amphitheatre, withFrightened Rabbit as support.[110] They continued on the road into the next year, mounting a full-scaleorchestral tour with the Magik Magik Orchestra, an arrangement captured on the limited live albumLive 2012.[111] Gibbard also made a solo album,Former Lives, released through Barsuk that year.[112] He spent most of 2013 celebrating the Postal Service's 10-year anniversary with a long-anticipated reunion tour.[113] The outing was in exceptionally high demand because it marked the group's first live run in nearly a decade.[114][115] In mid-2013, Death Cab reconvened to work on their eighth studio effort, but Walla found himself less devoted to it. Over the years, he had continued his producing career, helming albums byTegan and Sara, Youth Group, and Ra Ra Riot, among others. He described feeling artistically at odds during production, and suggested hiring an outside producer, a first for the quartet. The band recruited veteran rock producerRich Costey, known for his work withMuse andFoster the People.[116] Costey introduced a bigger, glossier, more modern productive style to the band's palette.[105]
With these changes, Walla later told the group it would be his last with the band. His departure came as no surprise to the rest of its members, given his general preference for being behind theboard versus performing. He had been unhappy with the pace of touring, and Costey's presence had also highlighted creative disagreements, with Walla finding the new songs remote and dull.[105][113] Walla's last gig with the group came on September 13, 2014 inCalgary, and the band continued on.[117] In the wake of Walla's exit, Death Cab recruited two new members to fill out his space:Dave Depper on guitar andZac Rae on keyboards. The band had been considering adding a fifth member for years, to help flesh out their live sound.[118] Gibbard had long known Depper through the Pacific Northwest music scene, and Depper introduced him to Rae, with whom he had been in another band.[119] The duo debuted on the press tour forKintsugi (2015), the band's next album, named after aJapanese art that embraces breakage. They rebooted the band at a central place in their history—the Crocodile Cafe in Seattle, in January 2015.[120]
With Depper and Rae on board,Kintsugi represented a new chapter for the band upon its March 2015 bow. It became their third consecutive top 10 album on theBillboard 200, debuting to a modest drop in sales from its predecessor.[121] Singles "The Ghosts of Beverly Drive" and "Black Sun" cemented the band's place in the alternative radio canon,[122][123] with both singles becoming airplay staples and top 5 hits on theAlternative Airplay ranking. Critics praised its reflective songwriting[124][125] but felt it lacked some of the boldness and cohesion of their earlier work.[126][127] The press interpreted much of the album in the context of Gibbard's divorce.[128][129] Touring behindKintsugi, Death Cab played North American,[130] Europe,[131] and festival dates, likeBonnaroo, alongside bands likeCHVRCHES andBest Coast.[132]Kintsugi was nominated for theGrammy Award for Best Rock Album,[133] their last nod to date. The band released a standalone single, "Million Dollar Loan", aprotest song against PresidentDonald Trump, in October 2016;[134] it was the first time Depper and Rae had contributed in a creative capacity.[135]
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In the late 2010s, the band reconvened to begin developing their next album: the transitoryThank You for Today (2018). They connected with Costey for a second time, eager for a creative bridge from the old to the new.[136] Making the record required the band to recalibrate their dynamic after adding two new members, learning to navigate new studio communication, boundaries, and creative input.[137] Gibbard provided more complete demos, unsure of how the process might be with their new members,[136] and wrote lyrics reflecting on the post-tech boom's impacts on Seattle.[138]Thank You for Today landed in the top 20 overall, but did not reach the heights of their previous peak-era releases. "Gold Rush" and "Northern Lights" both topped theAdult Alternative Airplay chart, and critics found the album, which emphasizes mid-tempoballads,[139] safe and predictable.[140][141][142][143] The band began touring behind the album in June 2018, primarily across North America (supported byCharly Bliss),[144][145] with later legs in Europe, Australia, and New Zealand. In 2019, the band toured across North America again between June and August withMitski,Car Seat Headrest, andJenny Lewis.[146]
During this time, the band issuedThe Blue EP, a stopgap collection of newly created songs and holdovers from their last album.[147] Though the band planned for another year on the road,[148] in early 2020 the globalCOVID-19 pandemic took hold, rendering live shows obsolete; Gibbard reacted with a series of at-homelivestreams that were well-received.[149] The band also announced aBandcamp exclusive EP titledThe Georgia E.P., which raised $100,000 forFair Fight Action.[150] The next year, the band also issuedLive at the Showbox, another Bandcamp exclusive befitting theNational Independent Venue Association (NIVA).[148] The fivesome returned to in-person live performances after 18 months in September 2021, playing shows withPerfume Genius andDeep Sea Diver.[151] The same year, they shared a commemorative 20-year anniversary reissue ofThe Photo Album which featured studioouttakes, demos and rare recordings.[152] In February 2022, the band shared a cover ofYoko Ono's "Waiting for the Sunrise", which was recorded as part of Gibbard's curatedtribute album to Ono entitledOcean Child: Songs of Yoko Ono.[153]
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The band announced their tenth studio album,Asphalt Meadows, which saw release in September 2022.[154] Much of the record was written remotely during the pandemic through a "chain-letter" process in which band members sequentially built on shared files, generating nearly ninety song ideas that were later narrowed to eleven.[155] The band recorded the album withJohn Congleton.[156] Critics found the album refreshing and a return to form for the band.[157][158][159] "Here to Forever" topped theAlternative Airplay[160] andAdult Alternative Airplay charts,[161] while "Pepper" also topped the latter in 2023.[162] In support, the band launched a North American tour withLow andYo La Tengo.[163]
Between 2023 and 2024, the band embarked on an extensive arena tour with Gibbard's other project, The Postal Service, performing bothTransatlanticism andGive Up in full to celebrate the albums' 20th anniversaries.[164][165][166] The extensive jaunt—which spanned two years, 56 dates,[167] and brought the band back to arenas and amphitheaters—was considered one of the most anticipated tours of the season.[168] Much as the anniversary tour a decade prior, this double-billing proved to be a cultural event for the bands'millennial fanbases.[169][170][171] At the tour's close in August 2024, Gibbard noted that the band would take their time in writing and recording an eleventh studio album. Speaking toNME, Gibbard noted: "The band has been writing intermittently, over the last couple of years. I can’t give you a release date for a new record, but I think we’re going to take time off from touring and being in the limelight."[172]
In January 2025, the band signed withAnti-, marking an end to their 22-year period signed to a major label. Ben Gibbard said the band was "thrilled" to join Anti-, citing its roster of favorite artists and longtime friends. In announcing the move, they also announced a forthcoming North American tour featuringJapanese Breakfast,Jay Som, andNation of Language at select dates.[173]
Death Cab for Cutie's music has been labeledindie rock,indie pop,emo, andalternative rock.[a] Andrew Sacher ofBrooklynVegan wrote, "These days, it’s common for a band to exist within both the emo scene and the indie rock scene, but in the 2000s, there weren’t many who managed to do it. Death Cab were one of the few. [...] If you ever need to remind yourself why emo can claim Death Cab For Cutie, just revisit those first few albums."[183]Alternative Press argued against the emo classification for the band, stating the opinion that Ben Gibbard's vocals are "missing a key component: emotion." The publication suggested that the band was erroneously labeled as emo due to their similarities toSunny Day Real Estate.[184] The band's early material also contains elements ofgrunge.[185]
Generally, the band's sound is characterized by "sensitive songwriting [and] memorable melodies." Ben Gibbard's vocals are described as "rich [and] wistful."[185] The band's early work onYou Can Play These Songs with Chords was described byRolling Stone as "emotion through its lack of emotion".[186]Pitchfork also remarked that the work on the cassette was "ultra-lo-fi".[187] OnSomething About Airplanes the band's style remained similar, with some new instrumental work introduced; "flute,synth, orcello" were noted byAllMusic's Nitsuh Abebe.[188] OnWe Have the Facts and We're Voting Yes the band again expanded their use of unorthodox instruments, includingorgan andglockenspiel. Pitchfork called them a "gentle niche" in the current rock climate, compared with bands such asModest Mouse andBuilt to Spill.[189]
Rolling Stone reviewedTransatlanticism and commented that it contained "melodic, melancholy songs about feeling both smart and confused, hopelessly romantic but wary of love."[190] Gibbard's voice was described as "plaintive boy-next-door"[190]Entertainment Weekly commented on the music onPlans, saying "The lush arrangements are long on hothouse organs and pianos, but short on the squirmy guitars and squirrelly beats that, on Gibbard's best work, offset his sweet voice and borderline-maudlin poetics with a sense of emotional danger."[191] The band's music onPlans was described by theDallas Morning News as "a literate, whispery style, the kind of stuff that normally sounds better in headphones than in large venues".[192]
In an interview withShave Magazine, Ben Gibbard commented on his song writing saying that he "never sit[s] down to write an album number one. I just kind of sit down and write songs and the theme kind of makes itself apparent. But I would never say I was writing about searching for something as much as just trying to document with every song where I am in that moment when I'm writing that song. If a theme kind of makes itself apparent in a record, it has more to do with the fact that just what's been on my mind recently. So I guess clearly I have been and was and am, but it was never a conscious decision."[193]
Current
| Former
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Timeline
Studio albums
Grammy Award
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 2006 | Plans | Best Alternative Music Album | Nominated |
| 2007 | Directions | Best Long Form Music Video | Nominated |
| "I Will Follow You into the Dark" | Best Pop Performance by a Duo or Group with Vocals | Nominated | |
| 2009 | "I Will Possess Your Heart" | Best Rock Song | Nominated |
| Narrow Stairs | Best Alternative Music Album | Nominated | |
| 2010 | The Open Door EP | Nominated | |
| 2012 | Codes and Keys | Nominated | |
| 2016 | Kintsugi | Best Rock Album | Nominated |
MTV Video Music Award
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 2008 | "I Will Possess Your Heart" | Best Editing(Editor: Aaron Stewart-Ahn and Jeff Buchanan) | Won |
| Best Cinematography(Director of Photography: Aaron Stewart-Ahn and Shawn Kim) | Nominated | ||
| 2009 | "Grapevine Fires" | Breakthrough Video | Nominated |
| 2011 | "You Are a Tourist" | Best Art Direction(Art Director: Nick Gould, Tim Nackashi and Anthony Maitz) | Nominated |
Media from Commons
Quotations from Wikiquote
Data from Wikidata
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| Other albums | |
| Extended plays | |
| Singles |
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| Filmography | |
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| National | |
| Artists | |
| Other | |
