By Zack Gill
Staff Writer
Alternative rock group Death Cab For Cutie has always loved somber lyrics and juxstaposes them with cheerful guitars. Band members Chris Walla and Ben Gibbard have said that on their new album, “Codes & Keys,” the group has stepped away from the largely guitar-centric sound that has won them success and acclaim.
While experimentation with sound is certainly a worthy endeavor for any band, with the new album “Codes & Keys,” Death Cab For Cutie has failed for the first time. Without the redeeming upbeat pop sensibility of previous works, the album is unrelentingly drab and consistently boring.
Death Cab For Cutie began as singer/guitarist Gibbard’s solo project, and he remains the most famous member of the group. He was further renowned for his electronic side project, The Postal Service. Chris Walla, lead guitarist and producer for most of the band’s output, remains an integral part of the group’s sound.
2009’s “Narrow Stairs” was Death Cab For Cutie’s largest commercial success. While the album contains some of Death Cab’s saddest songs, it feels loose, lively, and spontaneous throughout.
“Codes & Keys” completely loses the surprise and spontaneity of Death Cab’s previous efforts. In fact, the only surprise here is how bad the album is. It seemed like Death Cab was having a great time recording “Narrow Stairs.” Here, they seem to be going through the motions with “Codes & Keys.”
Lead single “You Are A Tourist” makes an attempt to replicate some of the sunnier atmosphere and musicality of songs from “Narrow Stairs,” like the tracks “…Cath” or “No Sunlight,” but instead the vocals sound overproduced and the instrumentation is bland.
The album is also completely repetitive. There are some quiet vocals and slow guitar riffs; however, soul seems to be unfortunately missing from the equation entirely. “Some Boys” and “Portable Television” seem almost as if they are the same song with different lyrics.
“Some Boys” is in a higher key, but a dissonant guitar line plus whiny vocals seems to be the formula that defines each song on the album.
However, two tracks stand out and grab the listener on repeat spins of “Codes & Keys.” “Underneath the Sycamore” blends together wonderful percussion, solid vocals from Gibbard, and a pretty irresistible keyboard line.
“St. Peter’s Cathedral” combines some of the only memorable guitar work on the entire album with chirpy acoustic guitar chugging throughout the song, and perhaps the only memorable chorus on the album.
After “Narrow Stairs,” it seemed like Death Cab For Cutie was going in a wonderful new direction; “Codes & Keys” proves that prediction wrong. The album isn’t just a regression; it’s an insult to fans. “Codes & Keys” is available digitally and in stores on May 31.
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