Word: cab
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...marquee outside of the Avalon might have well read “Music 245, Death Cab for Cutie and the Transatlantic Transformation.” With pensive college students staring curiously at the four-man Seattle band, the Avalon seemed more like a lecture hall than a rock venue Tuesday night. Yes, a few indie rockers were scattered about, and several twenty- and thirty-somethings mingled, but the overwhelming majority of the room was attending their Tuesday night class, trying to discern the complex sound waves striking their academic ears. Some heads bobbed, a few hands waved and a scattering...
Openers Pretty Girls Make Graves kicked off the show with a solid set. A fellow Seattle-based group, the band was invited to tour with Death Cab and is promoting its 2004 release Good Health. Forced to cope with an even more passive audience than that which faced Death Cab, they nonetheless played with great verve and precise rhythm. However, their upbeat and punk-influenced style was a fiery prelude to the more nuanced and contemplative Death Cab...
...prefaced a night of masterful song arrangement and exquisite musicianship. Combining highly recognizable material from their Transatlanticism album with lesser known tales of woe like “Lowell, MA,” “Photobooth,” and “Amputations,” Death Cab gathered generously from its ten-record cornucopia and projected their stories with great clarity...
...time when singer-songwriters, divas and solo acts abound, Death Cab is a refreshing example of humble unity. Dressing mainly in black and communicating actively with each other on stage, Death Cab comes off as a band in the fullest sense of the word. They convey music, not pretenses, overdrawn speeches and affected crowd pleasing. In fact, guitarist/keyboardist Chris Walla rarely even makes eye contact with the audience, and bassist Nick Harmer pays most of his attention to drummer Jason McGerr. Perhaps this is too much at times, but the underlying innocence and musical devotion implicit in these mannerisms...
...performance, the audience just didn’t seem to be there. They were certainly appreciative, giving warm applause and an occasional cheer, but they lacked the enthusiasm and knowledge of true fans. And, quite likely, they weren’t true fans. With the release of Transatlanticism, Death Cab has seen a significant jump in popularity. Playing clubs like the Middle East just last year, they are now playing amphitheaters, stadiums and major city venues...