Death Cab for Cutie - The Blue EP
Deputy Managing Editor
Death Cab for Cutie is one of modern rock's most reliable acts, dropping well-crafted albums every three years or so. That said, some critics find them to be a bit too predictable at this point, an enjoyable but static band that's not pushing any boundaries. I don't necessarily agree with that, but I can understand where that complaint comes from. The good news is that DCFC often also releases EPs between albums, as they did a few weeks ago. The Blue EP is an easily digestible five songs and 21 minutes that crackles with more life than last year's Thank You for Today.
As usual, the songs are unmistakably Death Cab, but they're all pretty distinctly different. Opener "To the Ground" is an instant classic, with strong melodies, choppy guitars, pounding drums and subtle keyboard fragments that all drop out four minutes in -- only to rejoin a few seconds later in a building crescendo to the song's climax. "Blue Bloods," on the other hand, starts with only a few chords and wistful lyrics about everything falling someday. But the second half just sounds great, with layers of guitar all coming together on top of a simple piano melody, not entirely unlike classic cut "Transatlanticism."
We couldn't be more pleased to share 'The Blue EP' with you today - it's a collection of five new Death Cab tracks. Link in bio. You've already heard "Kids in '99" and "To the Ground". "Kids in '99" and "Blue Bloods" are two brand-new recordings that we made with producer Peter Katis this past winter. It was our first time working with him and we are absolutely thrilled with the results. The future feels filled with endless possibilities; these two songs point toward some of them. We are also excited to share a studio video for "Blue Bloods" today, made by our friend Justin Mitchell who spent some time with us while we were recording: found.ee/dcfc-bluebloods-studio "To the Ground" and "Before the Bombs" were both recorded with Rich Costey during the sessions for 'Thank You For Today'. They were both in the final running order for the record until the very last moment, but in the end we felt that they didn't quite fit the theme that ultimately unified TYFT. We're so glad they are seeing the light of day on this collection. As for "Man in Blue", in the months leading up to recording 'Thank You For Today', we convened at Zac's studio in Burbank to come up with and informally record band arrangements of potential songs for that album. Many of the final tracks, such as "Northern Lights" and "I Dreamt We Spoke Again", were first arranged during these sessions. "Man in Blue" was one of these songs, but something about our very first run-through of it had such a special quality to it that we decided not to re-record it for the album. What you're hearing here is our efforts from that day. As this touring cycle begins to wind down, we are once again looking to the future, getting excited to record again, feeling more free and fearless than ever before. 'The Blue EP' feels like a good, big step in the right direction. As always, thanks for following along. xo, DCfC
Those tunes bookend three simpler songs that are no less pleasing. It's surprising how well the whole collection hangs together when you consider the different creative processes these songs went through. Two were originally intended for Thank You for Today, two more were brand-new recordings made with a different producer after the album had been released. And the fifth tune, "Man in Blue," came out of sessions from when the band was just starting work on its last album. The recording on The Blue EP is from those sessions, unchanged. It's a low-fi affair that calls back to DCFC's earliest works while still fitting in with other brand-new tunes.
None of these songs are likely to become all-time favorites in the band's catalog. But somehow, The Blue EP still works surprisingly well as a quick, stand-alone record to show people what Death Cab For Cutie is all about.
The Appleseed Cast - The Fleeting Light of Permanence
Senior News Editor
I was first introduced to The Appleseed Cast in 2003. Thanks to a college classmate, my music library expanded exponentially over the course of a single semester. After a semi-sheltered childhood, I dove headlong into hardcore, indie rock and emo. And I quickly discovered that only a few options were conducive to productivity. One of those was the ambient indie rock sounds of The Appleseed Cast.
By the time I found them, the band from Lawrence, Kansas, was on its sixth album. However, I was immediately drawn to Mare Vitalis, released in 2000. Tracks two and three, "Fishing The Sky" and "Forever Longing The Golden Sunsets," are basically peak Appleseed Cast for me. Guitar riffs drive the tracks with bombastic drum beats underneath. Nothing is overly intricate here, and the riffs are mostly repetitive rhythmic picking, but the band is so good at it. And they're also very good at using dynamics to create tension and beauty in their songs. There's also a lot of instrumental tracks spread across the band's library which makes them a solid choice for background tunes when you're trying to work.
"Fishing The Sky," in particular, goes from soaring rock to restrained melodic instrumental and back up to a climax where the vocalist Christopher Crisci comes just short of full-on screaming. That would've been too much though, and teetering on the edge of restraint is what makes it fit the song perfectly. And on "Forever Longing The Golden Sunsets" you get a taste of another key aspect of The Appleseed Cast: Drum beats are more than just 4/4 or 6/8 pounding. They're almost like drum riffs, where the cymbals are part of the beat -- bell hits on the ride in particular. Don't get me wrong, there's plenty of just keeping the beat, but the added details are a big part of what makes this band's music unique.
I'm also a huge fan of Peregrine (2006) and Illumination Ritual (2013) for some of the same reasons. Both of those albums showcase my favorite aspects of the band: Soft, brooding tracks are offset by some of the best indie rock driven by guitar riffs and booming drums -- all intricately woven together. It's basically the epitome of emo/indie rock for me. And perhaps what's most impressive to me is the band's most recent album does all of this and more, so it doesn't feel dated at all. Instead, it's equal parts consistency and evolution.
The Appleseed Cast released The Fleeting Light of Impermanence in June, and I'll be honest, I never expected to get another new album from them after 2013. I'm very glad we did though, as this might be my favorite album of the year. Sure, I'm a little partial, but hear me out.
The opening track, "Chaotic Waves," there's everything that makes the band what it is. Then you notice some subtle synth work complementing the guitars in some parts. As the record progresses, there's gradually more synthesizer, strings and other elements that expand the sound The Appleseed Cast has spent decades perfecting. Then you hit the third song, and it's an all out assault, or as I like to call it, a symphony of indie rock. "Time The Destroyer" starts soft and builds to a huge chorus with driving drums and a big sound before dipping back down to more ambient and melodic tones.
If you're a fan of bands like American Football and Pedro the Lion, you'll likely be into The Appleseed Cast. Even if you're not, heck, you might find something you like here.
"IRL" is a recurring column in which the Engadget staff run down what they're buying, using, playing and streaming.