The third full length release by Death Cab for Cutie, entitled The Photo Album, finds the band furthering its wistful, indie-pop sound. This album comes one year after DCFC's critically acclaimed sophomore release, We Have the Facts and We're Voting Yes. The new album features singer/songwriter/guitarist Ben Gibbard's trademarked delicate melodies and arrangements. Lead guitarist, Christopher Walla, who has produced all of the band's works, has completely shed the band's muddy production found on their debut release. Instead every shimmering note and tight percussive hit can be distinctly heard, flowing around Gibbard's light vocal delivery.
The strength of DCFC is in their melodies, and this album, in particular, serves as a perfect showcase for Gibbard's talents as a songwriter. Throughout the album, intertwining, and sometimes contrasting melodies, can be found emanating from both guitarists. Intricate picking and interesting chord voicings tickle the listener's ears as overdubs of guitar and vocal harmonies softly swell. Complimenting the band's sound on several tracks is the presence of a piano, which has always been present in the keyboard form on other albums, but now serves as a more focal role. This album also incorporates a more acoustic backdrop when compared to the previously chorus and delay layered efforts. Hints of Sunny Day Real Estate-esque octaves once again appear on select tracks like "Blacking out the Friction," arguably the LP's best track. The recent addition of replacement drummer Michael Shorr, is apparently paying off as his restrained drumming holds Gibbard's tight songs in focus. On "Coney Island," Schorr is temporarily replaced by a soft drum machine before resuming his duties as the song picks up.
Lyrically, Gibbard once again dwells on similar themes of nostalgia, relationships and pensive solitude. More self-assured than ever, Gibbard's overly clear annunciation makes his poignant thoughts seem all the more resonant. The symbolism that the title of the album suggests is more reminiscent of various "snapshots" in time, rather than the tangible dog-eared photo album a Pacific North-westerner like Gibbard may have been brooding over one rainy Washington afternoon. Always contemplative and descriptive, the songs speak of opportunities passed, friends forgotten and places been. Mentions of distinct smells and brisk weather seem to draw the listener in, as clever alliteration and assonance help give the lyrics a poetic flow.
Some songs on the album, although only loosely sticking to the nostalgia theme, show an obvious change in the usual DCFC topics. The track "Why You'd Want to Live There" follows in Tool's Aenima footsteps, as an accurate account of "that fucking hole L.A." Gibbard accurately states, "You can't swim in a town this shallow - you will most assuredly drown tomorrow." The most insightful track on the album, "Styrofoam Plates," tells of the harbored resentment Gibbard felt at his father's funeral. Vehement quotes such as, "He was a bastard in life, thus a bastard in death," and "you're a disgrace to the concept of family" provide us with a very personal glimpse of this artist's life.
The Photo Album is a very appropriate follow up to DCFC's second LP release, and fans of the band will not be disappointed. The band's sweetly sad, yet not depressing sound draws from other indie pop stars such as Modest Mouse and Built to Spill; however, Ben Gibbard's unique songwriting style is unto itself. Heartfelt vocals, understated musicianship and brilliant melodies make this album a highly enjoyable listen.
