Last night's homecoming for Death Cab For Cutie packed less punch than expected. Not that each member of the Seattle fanbase was expecting a blowout. I was. Partly because I'd never seen them play before but have been enjoying their music for several years now. So now that I finally had the opportunity to attend their show, they owed me. Punch, that is.
Word is mixed in the local scuttlebutt. Lots of Death Cab's fans prefer them on record, comfortable in their own assessment of the music as "sleepytime". Then others swear by their live performances. I confess that I left the show simply confused. The music was sublime as expected. There was undeniable energy on stage, particularly from new addition (yet another new drummer) Jason McGerr. But something left me feeling...blah. Perhaps it was the good sum of locals who seemed to feel that their very presence at this performance made them feel cool and complicated. Or maybe that was just my cynicism. Or maybe not. Seattle seems to have the most consistently wishy-washy crowds in terms of indie music listeners. Pushing 9 years of catching the occasional show at places like The Crocodile, the Showbox and various other hippish venues/bars, there is always THAT GUY or THAT GIRL who strikes up conversation between sets, oozing self-importance. I think I'm getting old. But wait. The music was GREAT. But I did not buy a button.
Transatlanticism may be Death Cab's strongest record yet. Many influences have found their way into the mix. Electronica drum beats (Dismemberment Plan, Gibbard's side project, The Postal Service). A driving rock ethic (thank you, McGerr, and thank you, Gibbard, for letting mathematics give way to the occasional simplicity of riffing in your music). Chris Walla's rapidly maturing production techniques and live guitar soundscaping... and post-production rivaled in imagination only by Yankee Hotel Foxtrot. There's much to be said about the new record and it was a treat to witness the construction of those tunes last night. Though I didn't buy a t-shirt either.
Posted by al on November 22, 2003 1:28 PMRE: Wilco's "Yankee Hotel Foxtrot"
I bought that (thankfully very cheap) on the strength of raves here and there and I really, really can't understand the appeal. I was immensely underwhelmed. I must be listening wrong, let me know.
I’ve not (cue exasperated gasps from Al) heard DCfC, but I gotta say that button is... yup, you guessed it... cute as a button. I would’ve bought one for sure. I’m real curious what the ‘indie rock’ scene is like in Seattle these days. I was there for the rise & demise of grunge, but jumped state for AZ in late 94’. What’d I miss? Is the Moore Theatre still rockin’?
SSHHHHhhh. You say "Moore" loudly enough around this city and you'll start a few pissing contests among the locals. I haven't been there in years. Was the Crocodile in business when you were around?
I went to this GREAT new dive on Eastlake called the Lo-Fi Performance Gallery on Saturday. It may well be the perfect space for lounging and/or listening.
Posted by: al at November 24, 2003 6:31 AMThat Lo-Fi joint has nice-looking web digs. I especially like the plastic teal-colored chairs.
Man, you gotta dish more on the Moore. What’s the controversy? Last show I saw there was Sugar’s Copper Blue tour back in 92’- LOUD! I think the Croc was around, but I never hit it. Is THE ROCKET still published up in those parts?
I think it's that they are still booking bands like Sugar every weekend, though I could be wrong. No controversy, only that there are decidedly better small-midsized joints to hear music these days. The attitude I perceive is smaller is better, but go to any street corner in Capitol Hill and you'll find a three-way argument: Moore vs. Paramount, the third guy saying they both suck. I don't get it, anyway. The Showbox is a great room, but seemed better several years ago when I heard Morphine and Deus play it.
Posted by: al at November 24, 2003 7:42 AMHmm, sounds like typical scenester grousing to me too. Though I do remember the Moore being somewhat sketchy acoustics-wise. A condition not helped when Mould turned his amp up to the special ‘11’ setting, punching holes in eardrums audience-wide.
Thanks for mentioning The Paramount (I was trying to recall that venue’s name)- I wrote it off back in 90’(?) after witnessing Bad Brains OPEN for Living Colour there. A blasphemous affront to my black rock pecking order then & now.
Posted by: derek at November 24, 2003 8:08 AM.................................................. © 2003 - 2006 bagatellen ..................................................