Death Cab for Cutie Stay Creative in Their Silver Age
Twenty-five years after Death Cab for Cutie began as singer Ben Gibbard’s solo project, indie bands are in vogue. As the quintet celebrates its silver anniversary, they show no sign of stopping. Plus, Death Cab for Cutie is still excited to kick off their tour on September 22 in Madison, Wisconsin.
Here, Gibbard shares how the Seattle-based band wrote Asphalt Meadows during the pandemic, what the group’s legacy is after 25 years and when he knew they had arrived at this age.
Congratulations on your 10th album. That’s a big milestone. Want something special to celebrate?
“No. we don’t think much about it. So it doesn’t matter if it’s 10th, 5th, or 50th. With every goal we take, we go through a process to get the best results. Sometimes it works, sometimes it doesn’t. But the fact that tenth is a great journey.”
Death Cab for Cutie had a very different creative process during the pandemic when Death Cab for Cutie made this album. can you explain that?
“We [use] this kind of tactic during a typical week, Monday through Friday when someone in the band creates music based on their instrument. So Zach [Ray] can play something on the piano and upload it to Dropbox. And the next day, the rest of the band downloads the music. and works on it all day. And so on for the rest of the week. When you have music, everyone has complete editing control. And that takes me out of my comfort zone as a songwriter. But not everything on the disc is material. I think about half the tapes are written like that.”
Does this process generate creativity for you?
“I think the thing that has been most beneficial to all of us is that there’s a lot less pressure working on music in your own studio space, with your own equipment, on a timeline that you set yourself. And I think there will be more opportunities to be creative and experiment. we don’t benefit from having five people in one room, all playing at full volume, and thinking about what to play in a song. I don’t think that’s an atmosphere conducive to creativity. So I don’t understand why I didn’t continue with letter songwriting this kind of chain.”
“Roman Candles” is about anxiety and fear during a pandemic. How will the pandemic affect album lyrics?
“If indeed the pandemic had an impact, many of the fears I had before about how strong our sense of human connection and unity are, how close we are to social collapse and chaos. And a pandemic is just a match tossed in a barrel of gasoline. But I know you don’t want to. writing notes about the pandemic. Who needs a song about watching Netflix, ordering Uber Eats, or feeling sad that you’re not with your friends, right?”
“Here to Forever” is like looking back on the past with nostalgia. Do you really miss the band’s 25th anniversary?
“We’ve been very lucky to have had such a long career, and it looks like we’re getting new fans here and there. The audience isn’t just a sea of people my age. Music connects people across generations, and I feel that music is passed down to kids, younger brothers, and sisters. brother and sister. And it really inspires us when we see them. I’ve been with them longer than some of the bands I’ve imitated. I’m very grateful. But that doesn’t mean I lament too much at the beginning of this band, I just want to respect them. ”
“Rand McNally” is all about building a legacy. What do you think Death Cab for Cutie’s legacy will give 25 years from now?
“I think of us as sort of a very successful cult band. As you know, we’re not a big name. We’re not Coldplay. We’re not Arcade Fire. We’re not Imagine Dragons or anything like that. I would describe us as a very successful cult band, and I don’t say it with disdain, but with pride. As a member of this small community we’ve built, I feel I’ve built a very loyal fan base who keeps coming to shows, buying records, and staying active. I think that’s the most helpful way to pursue a career. We’re not being chased by the press, paparazzi, etc.”
What are the financial challenges for indie bands if streaming replaces album sales?
“From an economic point of view, touring is everything. I’m lucky to be in a situation where I can make a living playing live. But in the band’s early days, it wasn’t tours that kept us going, but royalties from Barsuk Records, maybe $4,000 to $5,000 per quarter. And at first, the money was borrowed. The way streaming distributes its revenue is so unfair. If I spend about $10 a month on Spotify, I want to donate that money to the artists I listen to. I don’t want to give that $10 to Taylor Swift and Post Malone But that’s how it works. To me, it’s very unfair and unethical. The only way I can support the artists I love doesn’t have to be by buying their music, but by meeting them in person and paying them. If I were king, all the money would be given to the biggest streaming artist. Weird.”
You have a unique career path. Is there a time when you feel like you’ve reached your peak?
“Yes, at the Crocodile Cafe in Seattle in 1998. It was a sold-out show – about 300 people, not many people. But it was a dream-fulfiller to hang out at the Crocodile Cafe. We released our first record, Something About Airplanes, which was accepted.” well locally. And the fact that 300 foreigners came to visit a city I’ve never lived in and always wanted to live in… I remember I was very emotional. This is it.” That’s how far I consider success.”
