Curious as where the bands you want to see are playing and what dates they’ll be playing on Warped Tour? Get planning with our Crib Sheet.
Angels & Airwaves are working on two new movies and albums. Tom DeLonge has confirmed that this will leave the band with plans for the next five to seven years. LOVE IV.
Ben Gibbard is teaming up with Brett Nelson of Built To Spill to remix Death Cab For Cutie tracks into synth-pop songs. The Postal Cab, right? We’ll be getting a 7” from the two on July 2nd.
Don’t worry. If you thought You’d only hear synth versions of Death Cab songs for the rest of your life, you were wrong. Ben Gibbard has confirmed that the band is indeed writing new music together.
Two were left dead in a car crash on their way to Bonnaroo this weekend. Make sure to get to Warped Tour and all other shows safely this summer.
Today PropertyOfZack is launching our fifth Decade feature in honor of The Postal Service's Give Up, which is celebrating its ten year anniversary reissue today. We figured it would be perfect timing between the reissue and major touring coming this spring and summer. We have commentary on the album via team members Josh Hammond, Marc Gary Gray, Deanna Chapman, and Brittany Oblak. Enjoy and reblog to let us know your thoughts on Give Up ten years later!
Most important song on Give Up
The first time I listened to “Such Great Heights,” I knew instantly that I was listening to a defining piece of music history. I was sitting in my car the moment the intro notes began pinging around my head, forming one of the most consuming walls of sound I had ever experience. With flawless production, near perfect structuring and composition and absolutely stunning lyric approach, the song is as close to a modern masterpiece as possible.
Additionally, the song would gain a second life through a cover by Sub Pop label mate Iron & Wine. The song would find its way to the soundtrack of the film Garden State, gathering cult status and a reputation and fan base of its own, therefore altering the careers of both The Postal Service and Iron & Wine. Shifts could be noticed in the career of Gibber’s other project, Death Cab for Cutie. Transatlanticism’s first single would noticeably take more of a Postal Service approach to structure in the way it would mix depression with solid pop structuring.
It is no stretch to imply that the reach of this song extends past that of many indie releases. Locking in the legacy as the biggest asset on a stellar release the song should be remembered long after everything it has touched has faded into retirement. – Joshua Hammond (@endless_rambles)
How did The Postal Service follow up Give Up
Give Up was a great start for The Postal Service, until they decided at the time there would not be a follow up. The writing process had begun for a sophomore effort, but was never completed. However, The Postal Service by no means went away in regards to the number of fans they still maintained. Give Up was such an outstanding album that it left people wanting more, but it wasn’t until January 2013 that the band’s site was updated and they announced a re-issue of the album, which will include a two rarities. Their fan base went crazy and it was clear that the original success of the album brought the group very loyal fans. The re-issue is out now and I believe that will show just how many people still love the group and want another album. Ten years is a long time to wait. – Deanna Chapman (@deechapman21)
How does Give Up hold up in 2013
If this album came out today, would it be received equally well? Has the album aged well over the past ten years? Are those the same question or entirely different questions? For the sake of this next couple of paragraphs, I’m treating them as different questions, and answering them in reverse order. The album has aged gracefully over the past decade, but if it were released today, it would not have nearly the success or impact it saw in 2003. Before any diehard fans of The Postal Service skewer me as a consequence of my last sentence, please let me expound (for I mean this as a compliment).
The Postal Service recently denied album rumors, but BrooklynVegan are reporting that the band has a reunion in the works. BV does not typically post rumors, yet they have posted no additional information either. It’s worth noting that Coachella is also tagged in the posting, hinting that they may be playing the festival. Check out their teaser below by clicking “Read More.”
The Monthly Summary
Albums Out This Month
The Weekly Tour Round-Up
I Hate Our Freedom
Coming Clean - “Remember To Breathe (Dashboard Cover)”
Behind The Booths
Never Shout Never - Ticket Giveaway [Ends on November 15th]
Motion City Soundtrack - Irving Plaza [Ended on November 4th]
Macbeth + Wake Up Lucid - Bundle [Ends on November 7th]
Glamour Kills - Winter Line [Ends on November 10th]
Mayday Parade, The Maine
Ben Gibbard has written another great op-ed on why he supports gay marriage, this time revolving around the story of his sister coming out to him while in college. Check out the full piece here and a snippet of it below by clicking “Read More.”
Musically, though he is without the invaluable company of composing/producing whiz kid Chris Walla. Gibbard has compiled an impressively cosmopolitan array of sultry hooks and twangy, southern tunes and lyrically, he’s free from the old Death Cab ball and chain, but it’s left him rolling around rather aimlessly.
Take “Dream Song” for example. Plucky ‘50s bass keeps the band trotting forward, strong upbeat guitar shouts contrast nicely with swingy acoustic strumming, and rhythmically minimal drumming keeps the whole picture from getting too cluttered. Unfortunately, the lyrical canvas is littered with cliché third-person declamations and awkward disregard for proper syllabic emphasis.
Later, in “Something’s Rattling (Cowpoke),” Tex-Mex horns and waltzing guitars provide the perfect backing for elegant vocal “ooh’s” and an emotional lyrical melody. Let’s face it: the music on this record is undeniably enthralling. Who wouldn’t be intrigued by a cohesive album that progresses from a cappella storytelling to spaghetti western soundtrack? Lyrics, however, still fall short of expectations. Loneliness does not foster Gibbard’s poetic creative growth.
The same shallow themes from the first five tracks are being repeated again, with lines like, “I’m not in hiding/Just trying not to be found/So when I hear my name/I never turn around.” Where is the effortless wordplay we dissected for hours when Plans first came out? Where is the intricate storytelling that brought The Photo Album and Transatlanticism to life? We’ll have to hope that Gibbard is striving for simplicity—not losing his spark.
“Duncan, Where Have You Gone?” provides the first glimpse of poetic hope. The over-the-top, end-of-the-night piano ballad offers a lot of empty space, but halfway through the appeal to an old friend Gibbard croons, “You don’t really know yourself/Because the people you meet, they just seem someone else/And now your biggest dream is to be just a stranger you pass on the street.” The loneliness is finally being articulated gracefully.