![]() ![]() ![]() its simple, to the point, and gets every single emotion across. the whole car scenario just hits a little too close to home.īen obviously has and described it here better than i could have imagined possible. this song makes me tear a little because of how insanely close i can relate to this song. i picture perfectly him slouched in the charir with his head resting on top of the door, straring out the window thinking about anything, not worried at all about saying the wrong thing. i love how he places himself in the passenger seat and gives the control to the girl. those people have never experienced true love.īen obviously has and described it here better than i could have imagined possible. but that is just when you have a stupid little crush. a lot of people define love as the feeling you get when your heart pounds and you get the chills and everything. that feeling of acceptance is amazing and i really wish that i could have it back. it was just nice and quiet and we weren't afraid to ask each other the stupidest of questions. we used to road trip all of the time and drive everywhere and this hits dead on how we felt. ![]() its like i wrote about how i felt with my ex. When listening to Transatlanticism, listeners feel every bit of what Gibbard feels.This song is soo good. That’s what makes a good album great - its ability to communicate a message in a way never heard before, to make people think old thoughts in new ways. The primitive physicality of “We Looked Like Giants,” the desperation of “Expo ‘86” and the candor of “Passenger Seat” - everyone has been there before but has never heard someone describe it the way Gibbard does. The snippets of his personal life are universal. In a way, listeners feel like they are growing up with Gibbard. In “Tiny Vessels,” Gibbard sings of love for the wrong reasons in a beautifully orchestrated tune, constantly reiterating the most memorable line of the whole album, “You are beautiful, but you don’t mean a thing to me.” The album’s most recognized track, “Title and Registration,” uses elaborate imagery to connect to listeners. Gibbard is feeling down, and he takes his listeners with him. The album’s opener, “The New Year,” triggers a revelatory introspection in its listeners. Transatlanticism makes its audience think. Is there a song more subtly mind-blowing than “A Lack of Color”? Probably not. ![]() The band didn’t just write simple-structured pop songs, it wrote songs that crescendoed when they needed to, receded when they didn’t and affected their audience because of it. It was the album where Death Cab stopped being just teenage angst and brought smart instrumentation, effective song structure and an expanded scope of sound. Transatlanticism covers all of those events and their accompanying emotions, but it goes further. It was the band equivalent of slamming the bedroom door shut when a teenagers’ love wasn’t reciprocated, and they couldn’t tell if they were going to scream or cry. Tuesday marks the 10th anniversary of Transatlanticism’s release, and even now, the songs are as emotionally piercing and powerful as they were before.ĭeath Cab for Cutie comes with a stigma: emotional teenagers, the early high school years, all the feelings of puberty everyone was too young to understand. It is their finest collection of songs, cover to cover, laden with melancholy melodies, unbridled emotion and some of the best lyrics that frontman Ben Gibbard ever wrote. Transatlanticism is Death Cab for Cutie’s saving grace. ![]()
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