The "Spotlight" Aesthetic

The “Spotlight” Aesthetic

            The most affective musical art is present in simplistic instrumentation, such as the acoustic guitar or a minimal beat.  A song that is unadorned with excessive technological manipulations in a studio or unnecessary elements of composition is the purest form of musical art.  Many of the most famous, top-rated songs of all time use the “spotlight” aesthetic, focusing on the artist’s natural talent alone, not gratuitous embellishments.  In this way, the art of what is being done or achieved in the song is made evident in a clear way.  Excessive instrumentation and production can be distracting and detract from the purpose of the music.  The “spotlight” aesthetic is often present in songs that are written by the artists or groups themselves, and are sung with the emotion felt at the time of composition. 

            The “spotlight” aesthetic is demonstrated in many genres of music.  I have found that it is particularly impactful in hip-hop and R&B as well as indie/alternative music.  “Killing Me Softly” by The Fugees (1995), is a cover of “Killing Me Softly with His Song”, originally by Lori Lieberman.  In 2008, The Fugees’ version earned the 25^th spot on VH1’s !00 Greatest Songs of Hip-Hop and the 44^th spot on VH1’s 100 Greatest Songs of the 90s.  The simple backbeat of “Killing Me Softly” allows Lauryn Hill’s vocals to shatter the original and every other version of the song to the point where most people are unaware that it is not an original song by The Fugees.  “Killing Me Softly” is a perfect example of the “spotlight” aesthetic because it was one of the first instances in which critics and audiences were exposed to Lauryn Hill’s role as singer, not rapper.  Her somewhat hidden talent was used in this song to evoke its metaphorical quality.  The vocal triumph of Lauryn Hill on The Fugees’ only album, “The Score”, translated to a successful solo album, “The Miseducation of Lauryn Hill”, which earned ten Grammy nominations and five wins.  Hill’s success with The Fugees and as a solo artist is largely due to the fact that her musical art spotlights her natural vocal talent.  Personally, I have always been able to relate to music that displays the “spotlight” aesthetic because music does not require complicated themes or instrumentation to be powerful and meaningful. 

            From the indie/alternative scene, two fascinating examples of the “spotlight” aesthetic are “I Will Follow You into the Dark” by Death Cab for Cutie and “Naked as We Came” by Iron & Wine.  Both songs feature the lead singer backed by only an acoustic guitar.  The quiet melodies of each song provide a more intimate atmosphere, a characteristic of the “spotlight” aesthetic, for the listener to explore the lyrics as they are lightly sung above the gentle plucking of the guitar.  Both songs have been used in numerous movie soundtracks and television shows, demonstrating their mass appeal.  Released on Death Cab for Cutie’s “Plans” in 2005, “I Will Follow You into the Dark” was hailed by Pitchfork Media as the album’s “quiet centerpiece” and praised for its “unexpected turns of phrase”.  Both Death Cab for Cutie and Iron & Wine have used the “spotlight” aesthetic throughout multiple albums.  The affect and authenticity present in the “spotlight” aesthetic make it one of the most appealing styles for songwriters to use.

            Music that employs the “spotlight” aesthetic gives the listener an art form that is simplistic in nature, yet full of complexities that drive the individual to contemplate and analyze it in a way that would not be possible had other distracting elements been present in the music itself.  The “spotlight” aesthetic is a more personal style of recording and performance that offers the raw emotion of the subject matter that influenced the song’s composition.  Exposure to music using the “spotlight” aesthetic is important because it leads to reflection on the instrumental elements as they intertwine with the emotive thread of lyrics.    

The Fugees—“Killing Me Softly” : http://www.youtube.com/watch?v=7YAEWrnOtrY

Death Cab for Cutie—“I Will Follow You into the Dark” : http://www.youtube.com/watch?v=rePcHxFJIuU

Iron & Wine—“Naked as We Came”: http://www.youtube.com/watch?v=Nd-A-iiPoLg

Side Projects as Solutions

Side Projects as Solutions

 

Death Cab for Cutie - "The New Year" (Ben Gibbard's main band)

The Postal Service - "Brand New Colony" (Ben Gibbard's side project

            A musician’s talent often requires more than one outlet for expression.  To feel creatively fulfilled, members of bands often engage in side projects, which can consist of new bands or solo work.  These side projects offer the musician more creative license than they may have in their original bands.  For this reason, there has been a recent increase in the number of side projects that artists are creating to use their talents in expanded ways, especially in the alternative/indie rock scene.  In this genre alone, side projects have been created by some of the most well-known band members, including Death Cab for Cutie’s Ben Gibbard, The Kills’ Alison Mosshart, and The White Stripes’ Jack White.  The bands these artists have started offer a glimpse at other talents they possess because they play different instruments, perform in different styles, or make music in an entirely different genre.  Side projects are important to pay attention to because of the subtle differences between an artist’s work in his or her original band and their side project.  Sometimes, these differences go undetected; however, focusing on them allows the listener to better understand the artist themselves. 

            In the past, musicians did not engage in as many side projects because simply collaborating with other artists was more common.  Musicians would contribute to a song, or even an EP, but not unite to form an entirely new group.  Recently, the rise of side projects has proven to be an important facet of the alternative/indie rock scene that more people are paying attention to, given that the artist’s original band averages two or three years to release an album.  People grow increasingly impatient for new music because of the way most music is currently distributed and disseminated, via the internet.  With this impatience, fans embrace side projects as something to keep them occupied or temporarily entertained until the artist’s original band releases new music.  However, the side projects themselves occasionally outshine the work of the musician’s main band. 

            The understated style and smaller scale of side projects provide the artist with an opportunity to not be as widely criticized as he or she may be with their original band.  With this freedom, the artist is able to explore realms of their creative talent in ways that would not necessarily be included in the music produced in their main band.  Some of the more famous side projects displaying more artistic freedom include:  The Postal Service (Ben Gibbard of Death Cab for Cutie), The Dead Weather (Jack White of The White Stripes and Alison Mosshart of The Kills), and S. Carey (Sean Carey of Bon Iver).  Although The Postal Service has only released one album, “Give Up” (2003), it was Sub Pop’s best-selling album since Nirvana’s “Bleach”, proving that side projects are just as marketable as the original band itself.  Jack White, known for his masterful guitar playing evident in his work with The White Stripes, explores his skills as a drummer in The Dead Weather with Alison Mosshart as lead singer (she is also lead singer of The Kills).  Sean Carey is the drummer for the popular indie band Bon Iver, but displays his vocal talent in his side project, S. Carey. 

As many musicians are skilled in more ways than one, their side projects allow them to be creatively fulfilled and exhibit more control over work that might not make the cut with their main band.  The juxtaposition of audio recordings and live performances from artists’ original bands and their side projects would show that side projects deserve just as much attention as the original band.  The array of talent evinced in side projects enhances the authenticity of a musician by providing a scene in which creative risks are celebrated. In essence, side projects themselves have become a subgenre within the alternative/indie rock scene.  Side projects have proven to be invaluable to musicians and fans alike.  

The Kills - Cheap and Cheerful (Alison Mosshart's main band) and The White Stripes - Seven Nation Army (Jack White's main band)

vs.

The Dead Weather - Hang You From the Heavens (Jack White and Alison Mosshart's side project)

Bon Iver - Calgary (Sean Carey's main band)

vs.

S. Carey - In the Dirt (Sean Carey's side project)

An Eclectic Evening with The Elected (Live Performance Review)

An Eclectic Evening with The Elected

The Elected (Live example from MySpace Secret Show)

            The alternative/indie band, The Elected, achieves an original, eclectic sound with the inclusion of instruments that conventionally belong to different genres.  By allowing their individual creativity to flow through the various talents of each band member, the uniqueness of The Elected leaves one puzzled, wondering why they have not yet garnered more national attention.  The band performs with both precision and emotion, giving an expressive quality to their music.   Having released three albums since 2004, The Elected possess the experience necessary to inspire their audience with powerful lyrics and performance value that indicate passion and professionalism.  On June 22, 2011, the small, intimate setting of Local 506 in Chapel Hill, NC allowed The Elected, and the opener, Tristan, to engage with the audience in a way that is almost impossible in larger venues.   Standing a mere twenty feet away from the stage, I could see the rawness of the performances on the band member’s faces.  The liveness produced as a result of the emotional energy in the music and on stage is what makes live performances one of the most fulfilling ways to experience music in an embodied way. 

            I, personally, felt connected to the live performance because I was not familiar with The Elected prior to attending the show.  Therefore, I found myself hanging on every lyric, rhythm, and riff in an effort to absorb as much as I could of the performance.  I usually take the time to immerse myself in an artist or band’s music prior to a show, but decided to see The Elected without any expectations or preconceived notions of how they might perform.  As a result, I noticed the unique qualities of each song in The Elected’s varied instrumentation.  For example, The Elected use a steel pan drum, violin, and lap steel guitar in addition to the more commonly used instruments of alternative/indie music—the electric guitar, acoustic guitar, bass, and drums.  The lap steel guitar usually signifies blues, country, or bluegrass music, but The Elected use it with the rhythm guitar to create a layer of extended chords on top of the rhythmic strumming of the electric and acoustic guitars, played by the lead singer, Blake Sennett (who was also the lead guitarist for the more popular indie band, Rilo Kiley).  The soaring chord progressions of the lap steel guitar coupled with Sennett’s vocal range add another dimension to the music that keeps the listener anticipating when the tension of the song will be relieved in the coming chorus.  A fascinating instrument, the steel pan drum is associated with Trinidad and Tobago and is commonly used in music produced in and around the Caribbean.  Adding an interesting element to the sound of The Elected, the steel pan drum was used in a way that replaced keyboards.  It accentuated the rhythm with lighter notes, brightening the songs that featured it.  The violin, most often used in classical music, incorporated a sophisticated quality to the performance.  The orchestral timbre of the violin’s strings would hover above the melody and intensify at the right moments to make certain songs bolder and more emotionally charged.  People in the audience did not move around or nod their heads at these emotionally charged moments; instead, their expressions indicated that they were completely focused on the performance and intrigued at how The Elected seamlessly incorporated these unconventional instruments to create a successful fusion of international styles in their performance. 

            The liveness that was undeniably present at this performance was a reminder of the importance of small venues and local music scenes in which the music is whole-heartedly embraced by an audience that seeks good, live music, not a grandiose spectacle usually found at larger venues.  Smaller venues offer a more intimate setting in which the audience can feel a truer sense of community and connection, as well as interaction with the artist(s).  Blake Sennett frequently engaged with the audience between songs, offering short stories and a few awkward jokes that got the crowd to laugh while the rest of the band tuned their instruments.  The small breaks between songs and the dynamic between band members on stage allows the casual listener to experience a familiar recording with live nuances and additions.  At times, the performance could have been more interesting, if only because the set list was crafted in a way that made two or three successive songs sound similar, and perhaps lackluster.  However, The Elected drew and kept the attention of the small audience of about forty to sixty people for the entire show by maintaining the energy and presence one would expect upon hearing their albums.  The Elected were not simply performing their music, they were selling the emotion of it to the crowd, offering a chance for an embodied experience through metacommunication for each audience member to connect with.  The raw feeling in each song, present on Sennett’s face and in his vocals, as well as in the way each band member played their respective instrument(s), lets the audience feel comfortable responding to their energy in order for an unspoken bond to form in the live performance aesthetic.

            The musical hybridity of The Elected’s live performance gave the show an eclectic quality because unconventional instruments were incorporated, which blurred genres (alternative/indie, classical, and music of Caribbean origin).  The lap steel guitar, violin, and steel pan drum added an unexpected fluidity to the overall sound of The Elected’s performance, even though they are an alternative/indie band.   The artistic skill present was remarkable because almost every band member played more than once instrument.  The stage presence of Sennett and his bandmates contributed to the liveness of the performance, which captivated the attention of the audience throughout the show.  It is simply impossible to experience recorded music in the same way as live music because a live performance stimulates more senses.  The Elected displayed impressive musicianship as well as a mesmerizing connection to their music and the audience. 

Photo taken on night of show by the author:

The Depths of Dirty Dubstep

The Depths of Dirty Dubstep

Dubstep, popularized within the last decade mainly in the UK and United States, has been described as “the music that is created from transformers having sex”, “audio thunder”, and “the purest form of musical crack cocaine” (www.urbandictionary.com).  Adjectives used to define a good dubstep track are “dirty”, “filthy”, “grimy”, and other terms that one would otherwise associate with negative characteristics.  On the surface, dubstep is a genre that functions as party music; for a large number of dubstep fans, it is something to be experienced while on drugs, such as ecstasy or marijuana.  The heavy bass, loops, and drops of dubstep make it ideal for dance parties and raves.  Dubstep is a derivative of the grime genre that is popular in the UK.  It has been largely criticized because the producers of dubstep are DJs rather than musicians—they use laptops and software rather than instruments.  Dubstep tracks are widely disseminated and circulated through the internet, where DJs and producers release countless mixes, EPs, and full length albums in mp3 format that are then featured in forums, blogs, and social media sites.  The genre is unique because it is completely original in that the artist controls all aspects of their work and it has created a scene for people that gravitate to dance music that incorporates much more than catchy hooks and electronic beats. 

The dirtiest dubstep, based upon personal knowledge of some of the most popular artists and tracks, consists of climactic drops, minimal manipulated vocal loops, and dynamic interplay of heavy bass and lighter electronic elements.  For example, the artist known as Skrillex has quickly ascended to the ranks of most notable dubstep producers through his innovative approach to production.  Sonny Moore, former lead singer of the hardcore band From First to Last, incorporates his experience with his former band as well as his lifelong love of electronic music to create tracks that consistently top the charts of popular electronic/dubstep websites, such as www.beatport.com.  When asked about the difference in personae for Skrillex and From First to Last, Moore said, “It's the idea of being in my home studio and making whatever I want to make at the time that I create it. I can do anything I want at any time, and there are obviously pluses and minuses to doing anything, whether you're in a band or doing a production. It's always nice to collaborate with people, but it's also really nice to do everything you want to do and not necessarily be bound to drums, bass and guitar all the time. I do enjoy playing live music as well, so it's simply another outlet to throw it all together” (interview from Artist Direct, August 2010, http://www.artistdirect.com/nad/news/article/0,,7350623,00.html).  Although Moore recently signed to Deadmau5’s label, his statement clearly demonstrates the creative license every dubstep artist has over their work, regardless of their status as signed or unsigned.  The lack of creative control in many of today’s popular music genres is a major problem because originality is stifled by producers’ financial goals and artists are not given a platform to create art that is truly their own.  This has created a popular music scene in which artists appear to be carbon copies of one another and half of forthcoming albums are released as singles beforehand in an effort to make as much profit as possible.  Thankfully, dubstep has not fallen under the curse of the producer’s hand because the artist is the producer.

Additional aspects of dubstep that make it a fascinating genre, full of depth and character, include the fact that vocals/lyrics are never the focal point, the tension built up in every track is unmatched by any genre, vocals (if present) are often manipulated beyond recognition and become enmeshed in the recurrent beat or theme, and a single dubstep track often incorporates many more elements than a more “traditional” song composed by a band with instruments.  The facets of dubstep as a music genre should be given more attention because they comprise a type of music that has spread at an extremely rapid pace in the last decade.  Sonny Moore (Skrillex) commented that “traditional dance music is a lot of loops that last for like five minutes, which really works on the dance floor. What come naturally to me are the more progressive elements in dance music. Dance music can't have too many stops, starts and changes. Then it's not dance music anymore. I grew up listening to … records that are a bit less danceable but more challenging on a production front. I like to mix that glitch and fidget element with dance music. It feels urgent and in-the-moment because things are changing a bit more” (http://www.artistdirect.com/nad/news/article/0,,7350623,00.html).  The overlapping beats and interlocking loops of dubstep create a complicated sound that somehow comes together to envelop the listener in a complex cacophony of rhythm and pulsating beats that allow for instances of musical transcendence. 

Examples:

Skrillex – Ruff Neck (Flex) - http://www.youtube.com/watch?v=kKi0WQx2kbg

Skrillex (Feat. Foreign Beggars and Bare Noize) – Scatta - http://www.youtube.com/watch?v=Nw-YjVp_ibQ

Skrillex – Bad Romance Remix (Lady Gaga) - http://www.youtube.com/watch?v=7VQC486qQgk&feature=related

The Killabits – Stray Bullet - http://www.youtube.com/watch?v=_raq79sOs50

Sources:

http://www.urbandictionary.com/define.php?term=dubstep

http://www.artistdirect.com/nad/news/article/0,,7350623,00.html

MTV Europe Music Awards (2005) - Gorillaz - "Feel Good Inc."

2005 Europe Music Awards - Gorillaz - "Feel Good Inc" VIDEO

Gorillaz’ first live performance at the MTV Europe Music Awards in 2005 incorporated new media and production techniques that led to a change in the discourse surrounding live performance.  Regarding live performance, audiences usually share a few expectations:  the live music should sound close to the record itself, the artist or group will most likely engage with the audience, and the artist or group may incorporate something new or change aspects of the performance to make the experience stand out.  At the MTV Europe Music Awards, Gorillaz used “the Motion Eyeliner System to beam three-dimensional holographic style performing cartoon characters on stage” and their appearance was “billed as ‘the world’s first 3D hologram performance’” (http://www.eyeliner3d.com/gorillaz_mtv_awards.html).  The Gorillaz essentially created a new performance aesthetic in which they are not performing as themselves—they are instead performing as their alter egos. This is radically different from the overwhelming majority of live performances because artists and groups almost always perform as themselves, and are visible to the audience.  By using three-dimensional projection technology in their first live performance, Gorillaz are able to maintain the alter ego cartoon identities that they have associated with all of their work, including album art, music videos, short cartoons, and a fictional Gorillaz universe on their website.  As the first “virtual hip-hop group”, the only permanent members of Gorillaz, Damon Albarn and Jamie Hewett, have established themselves as musicians that blend many different styles of music with an alternate concept of representation and identity, especially in performance.

            With influences from alternative rock, dub, electronic, pop, Latin, punk, reggae, and other genres, Gorillaz combine many styles to create a synthesized sound that makes their music unique and fresh.  At the 2005 MTV Europe Music Awards, Gorillaz performed their international hit “Feel Good Inc.”, which reached #2 in the United Kingdom and #14 in the United States.  “Feel Good Inc.” peaked in the top ten in fourteen countries.  With such great international success, Gorillaz’ live performance at the MTV Europe Music Awards in 2005 would prove to be one of the most unique performances and help propel them to further success.  During the performance, the projected alter egos of the band members appear to be playing their instruments and singing as a real band would, but the actual band members are behind a screen, hidden from the audience.  In this way, the audience connects with the band as they know them, by their alter ego characters.  This helps promote a sense of authenticity in the performance because Gorillaz represent themselves as their cartoon characters in all of their work; therefore, it would be hard for the audience to identify with a band they had never seen perform in their real identities.  The alter egos present on stage, Stuart “2D” Pot, Murdoc Niccals, Noodle, and Russel Hobbs, represent the band as “Feel Good Inc.” gets the audience to stand up and react to the projected cartoons as if they were the actual band members performing before them.  The presence the band has in these alter egos creates “liveness” in this performance that is surprisingly achieved without the actual band engaging with the crowd.  This performance is a breakthrough because it shows that even a “virtual band” can create an embodied experience through live performance. 

            The groundbreaking aspect of Gorillaz’ “Feel Good Inc.” as performed at the 2005 MTV Europe Music Awards is evident in the relationship the group has created with its fans.  Fans have come to expect innovative, interactive productions from Gorillaz, and this performance was a culmination of the group’s inventive achievements.  By creating unique alter egos with eccentric personalities and combining them with music that is also full of personality, Gorillaz are able to perform in front of huge audiences that embrace their alternate approach to what it means to be a band.  The image of Gorillaz is altogether unconventional.  The music the band creates is associated with cartoon alter egos, not the members of Gorillaz themselves.  By using projections of their alter egos, Gorillaz can incorporate actions into their performance that may be impossible in reality.  For example, “Murdoc”, the bass player, is seen licking the strings of his guitar near the top of the neck in this live performance.  In reality, a bass player would probably not do anything to his or her instrument that could jeopardize a performance.  In this way, Gorillaz have a more creative approach toward live performance because, essentially, they have no limitations.  Gorillaz are able to synthesize the expected authenticity of a live performance with a simulation of identity.    

            The 2005 MTV Europe Music Awards performance allowed Gorillaz to gain media attention through the uniqueness of their live performance.  By performing through their alter ego characters, Gorillaz were able to challenge the fundamentals of live performance.  The band members themselves did not appear, but the alter egos simulated the actions that an artist or group is expected to display on stage.  Gorillaz captivated the audience by utilizing technology to accomplish authenticity through simulation.  “Simulating authenticity” is a contradictory notion; however, Gorillaz incorporate the “concept” of the band in a virtual aesthetic in this performance, yet still manage to create “liveness” effortlessly.  This breakthrough performance demonstrates that the context of live performance is always changing and authenticity is determined by both the artist or group’s vision and the audience’s reception of that vision.  A live performance is an interaction between an artist or group and their audience.  In this performance, Gorillaz are groundbreaking because they establish a connection with the audience without being visually present.  In accomplishing the difficult feat of “simulated authenticity”, Gorillaz prove that innovative live performances challenge the audience to let go of expectations and embrace the unexpected.    

“Feel Good Inc.” Lyrics:

Hahahahahahahahaha,
Feel good,
Feel good,
Feel good,
Feel good,
Feel good,
Feel good,
Feel good,
Feel good,
Feel good.........

City's breaking down on a camel's back.
They just have to go 'cause they don't know wack
So all you fill the streets it's appealing to see
You wont get out the county, 'cos you're bad and free
You've got a new horizon It's ephemeral style.
A melancholy town where we never smile.
And all I wanna hear is the message beep.
My dreams, they've got to kiss, because I don't get sleep, no..

[Chorus:]
Windmill, Windmill for the land.
Turn forever hand in hand
Take it all there on your stride
It is tinking, falling down
Love forever love is free
Let's turn forever you and me
Windmill, windmill for the land
Is everybody in?

Laughing gas these hazmats, fast cats,
Lining them up-a like ass cracks,
Lay these ponies at the track
Its my chocolate attack.
Shit, I'm stepping in the heart of this here
Care bear bumping in the heart of this here
Watch me as I gravitate
Hahahahahahaa.
Yo, we gonna go ghost town,
This motown,
With yo sound
You're in the place
You gonna bite the dust
Can't fight with us
With yo sound
You kill the INC.
So don't stop, get it, get it
Until you're Jet Ahead.
Yo, watch the way I navigate
Hahahahahhaa

Feel good, AHHHHahahahah [x4]

[Chorus]

Don't stop, get it, get it
We are your captains in it
Steady,
Watch me navigate,
Ahahahahahhaa.
Don't stop, get it, get it
We are your captains in it
Steady, watch me navigate
Ahahahahahhaa.

Feel good, AHHHHahahahaha
Feel good,
Feel good, AHHHHahahahaha
Feel good....

Critical Record Review - "Transatlanticism" by Death Cab for Cutie

"Transatlanticism"

Track List:

1. The New Year
2. Lightness
3. Title and Registration
4. Expo '86
5. The Sound of Settling
6. Tiny Vessels
7. Transatlanticism
8. Passenger Seat
9. Death of an Interior Decorator
10. We Looked Like Giants
11. A Lack of Color

The Distance of “Transatlanticism”

            Death Cab for Cutie’s “Transatlanticism” is an album about distance.  Figuratively or literally, the issue of distance is important in every relationship, but especially in the type of relationship that Death Cab for Cutie’s lead singer, Ben Gibbard, writes about on this record.  The album revolves around the theme of love, whether it is mistaken love, lost love, overlooked love, real love, broken love, hidden love, or foolish love.  Each track signifies some variation of “distance” in a relationship that may or may not have “problems with easy solutions” (Track 1 – “The New Year”).  With a few radio-ready tracks, such as “The Sound of Settling”, “Expo ‘86”, and “The New Year”, Death Cab for Cutie has created an album that appeals to a wider audience than their previous records had.  Other tracks on the album are generally slower, sound a bit more melancholy, and are indicative of the emotions that surround relationships in which distance is a big factor.  Without a doubt, “Transatlanticism”, the title track, is the most powerful track on the album, with metaphorical lyrics that include imagery of substantial geographical distance separating two lovers and the simple, resounding line, “I need you so much closer”.  “Transatlanticism” is a special album because a multiplicity of its tracks can appeal to individual listeners in various periods during their life, which makes the album timeless and relatable to more than one audience.  The very nature of “Transatlanticism” is apparent in the band’s press release for the album:  “distances so vast and daunting that they seem impossible to breach.”  The almost depressing value of the made-up term “transatlanticism” is transformed into the optimism of hope by the end of the album, present in its closing lines: “This is fact, not fiction, for the first time in years” (Track 11 – “A Lack of Color”). 

            The aesthetics of “Transatlanticism”—the album’s lyrics, instrumentation, and style of Ben Gibbard’s vocals—merge to form Death Cab for Cutie’s most acclaimed record to date.  “Transatlanticism” scored an eighty-five out of one hundred possible points on www.Metacritic.com and received the honor of being named one of the fifty most important recordings of the decade by NPR (“The Decade’s Fifty Most Important Recordings”, www.npr.org).  Adam Thomas of www.Sputnikmusic.com writes that “Gibbard weaves his stories of love with a captivating simplicity and a pensive honesty that makes every line beautiful in its own right” (“Transatlanticism” review, www.sputnikmusic.com).  Gibbard’s lyrics are inherently deep, and worthy of numerous explorations on this album.  Some of the most intricate, thought-provoking lyrics include:  “I wish the world was flat like the old days / Then i could travel just by folding a map” (“The New Year”); “Oh, instincts are misleading / You shouldn't think what you're feeling / They don't tell you what you know you should want” (“Lightness”); “Sometimes it seems that I don't have the skills to recollect / The twists and turns of plots that turned us from lovers to friends” (“Expo ’86”); “The rhythm of my footsteps crossing flood lands to your door have been silenced forevermore / The distance is quite simply much too far for me to row / It seems farther than ever before” (“Transatlanticism”); “God damn the black night with all its foul temptation / I become what I always hated / When I was with you then” (“We Looked Like Giants”); “If you feel discouraged / That there's a lack of color here / Please don't worry lover / It's really bursting at the seams / Absorbing everything / The spectrum's A to Z” (“A Lack of Color”).  Gibbard has the ability to use metaphorical language and simplistic phrases to describe distance-related circumstances of relationships in a few choice words.  For example, a lover’s longing to be with their beloved in an instant “by folding a map” is a simple, yet transcendent idea in that it disrupts the conventional notion of travel, removing both the typical mode of transportation and the time it would take to reach the desired location. 

In addition to the powerfully simplistic lyrics, one must take into consideration the careful instrumentation and production that Chris Walla, the band member responsible for production and mixing, as well as guitar and keyboards, pairs with Gibbard’s lead vocals.  Walla layers the guitars that both he and Gibbard use with the keyboard, which is sometimes the singular instrument, as in “Passenger Seat”, and the rhythm of the drums and bass in a way that allows the flow of each track to lead into the next one and form a distinct sound unique to Death Cab for Cutie.  However, even with the expert production value and musicianship, the most obvious draw of the band’s audience is Gibbard’s lyrics and vocals. 

“Transatlanticism” is one of the most important albums of the decade, as declared by NPR, and one of the most important albums for anyone in a relationship that involves distance, whether it is emotional or physical distance.  It is special because it offers a perspective of relationships that cannot take certain things for granted, such as the ability to create emotional intimacy or see a significant other in person.  “Transatlanticism” does not attempt to make any bold statement or take a stance on a political issue as many culturally important albums have; it merely asks the listener to consider what “love” means to them and if “the distance is quite simply much too far…to row” in their relationship.   

"Transatlanticism":

Passion Pit - "Little Secrets" (Live at Club Firestone in Orlando, FL 6/12/10)

(footage shot by Melissa Sherrill on 6/12/11 at Club Firestone, Orlando, FL)

As one of their more popular songs, Passion Pit’s “Little Secrets” has made its way into the hearts of high school and college kids everywhere in America and internationally.  Having performed countless shows in the last few years, including UNC’s 2010 Homecoming Concert, Passion Pit is expected to play “Little Secrets” at every live show.  It is one of the catchiest electro-pop songs in recent years and has undeniable “danceability”.  The beat and electronically-produced melody make this song ideal for parties and of course, live shows.  Passion Pit’s style of well-crafted, and unexpectedly complicated, pop songs combined with innovative production value has helped propel the electronic music scene to more mainstream stages.

The average listener might not catch just how many different elements form a Passion Pit song.  The overall melody of most of their songs is obvious, but what has created that melody is hidden in the technology used to produce it.  “Little Secrets” is a heavily electronic song that incorporates familiar elements one would find in more conventional pop songs and adds very unique electronic flourishes.  These electronic flourishes are what make Passion Pit’s music appealing to audiences seeking more unconventional styles of production.  This is important because there is a growing trend among today’s pop artists to incorporate more technology into their music to give it a more modern, electronic base or influence.  Artists and bands are expanding outside of the usual instrumentation of guitar, bass, drums, and keyboards to include variations of synthesizers and software that manipulate various sounds to warp them into the unexpected.   In this way, artists and bands are no longer limited to the similar-sounding chord progressions, beats, harmonies, and general sound of conventional instruments—they can forge a new path with electronic mediums that can produce endless new sounds to help transform the discourse that defines what is considered “music”. 

Whether it is cast in the realm of “experimental” or “popular” music, technology has been incorporated into the musical sphere in a way that has allowed anyone with a computer and knowledge of necessary software to become artists in their own right by creating music and disseminating it through the internet.  Self-promotion and networking, especially through social media, has created a new atmosphere for music culture that is based on the discovery of new artists through music blogs, online radio websites (such as Pandora), and other online outlets.  It is not surprising that as the dissemination of music has changed from CD format to mp3 format, music itself has begun to incorporate technology and software that has become available within the last decade.

Before Passion Pit became a band, the lead singer, Michael Angelakos, wrote and performed what would become Passion Pit’s first EP (“Chunk of Change”) by himself using his laptop.  After forming Passion Pit, Angelakos and his bandmates focused on producing their first LP, “Manners”.  “Little Secrets” is the second track on “Manners”, and is one of the most upbeat songs of the album.  It is interesting to note that much of the lyrics of “Little Secrets” do not imply that it would be an electro-pop song:  “You've caused all this pain / and you proudly shame / your whole families’ name.”  To a casual listener, the tone of the song would cause one to overlook or not even realize the serious nature of the lyrics because the song is catchy and upbeat.  However, the situation of “Little Secrets” being performed live brings the song to life in ways that simply listening to the recording cannot.  Being packed in a room with people that have something in common, the fact that most if not all listen to Passion Pit, is a unifying force that evokes a celebratory atmosphere in which the music, band, fans, and shared experience of the concert come together to form a special memory for every member of the audience.  On a personal note, this particular performance in Orlando will always be a cherished memory for reasons related to the person who went to the show with me, but the performance as a whole was one of the best I have ever experienced.  

"Little Secrets"

When I came down the dawn poured into me

I shook em up, the walls came crumbling

my fists kept trembling with these salty wounds

my stolen gold inside the emperors tomb

Now painting rainbows on my ugly face

I built this cardboard neighborhoods disgrace

but I ascend and serve my feverish need

within the confines of such chemistry

It's the way I see

everything I need

it's no way to be

Let this be our little secret

no one needs to know were feeling

higher and higher and higher

higher and higher and higher

But I feel alive and I feel it in me

up and up I keep on climbing

higher and higher and higher

higher and higher and higher

My face blew up at such a casual sight

the smattered colours of ecstatic fright

the rush above me to oblivion

outlining wet sidewalks in halogen

Oh have you ever felt so goddamn strong

how come it takes some people so damn long

he tried to squeeze the lemon juice to rain

the citrus drawing out the scene in stains

Watch the basin drain

as your life lines wane

and you cant explain

as your friends complain

You've caused all this pain

and you proudly shame

your whole families name

Let this be our little secret

no one needs to know were feeling

higher and higher and higher

higher and higher and higher

But I feel alive and I feel it in me

up and up I keep on climbing

higher and higher and higher

higher and higher and higher

Mother I can tell what you've been thinking

staring at the stars on your ceiling

thinking once there was a power that you were wielding

and now I've hit the mark

stabbing at the dark

and I cannot help but ignore the people staring at my scars

Let this be our little secret 

no-one needs to know we're feeling

higher and higher and higher

higher and higher and higher

But I feel alive and feel it in me

up and up I keep on climbing

higher and higher and higher

higher and higher and higher

Let this be our little secret

no one needs to know were feeling

higher and higher and higher

higher and higher and higher

But I feel alive and I feel it in me

up and up I keep on climbing

higher and higher and higher

higher and higher and higher