Codes and Keys

Death Cab for Cutie became a household name after their perfect fusion of pop-indie and alt-rock became a regular feature on the teenage drama the OC and _Narrow Stairs (2008)_ went to number one across the pond. Front-man Ben Gibbard, recognisable for his distinctly unique and undeniably wonderful voice, once again proves his knack for song writing on _Codes and Keys_, even if it is more subtle than usual.

The pioneers of indie kick off their seventh studio album with the atmospheric ‘Home Is A Fire’, which exemplifies a surprising feature of _Codes and Keys_: both Gibbard and Nick Harmer (Bass) have been quoted as saying that the album would be “much less guitar-centric”. However, don’t fear, as the classic screeches and whines of the electric guitar play out across the album. The only real difference is that unlike its predecessor, _Narrow Stairs (2008)_, _Codes and Keys_ does not recoil at the combination of both piano and guitar. This becomes evident on the title track which laces swooning strings over twanging riffs and a steady key-based backing.

The album peaks in the middle, with ‘Some Boys’ coming closest to being the ‘I Will Follow You Into The Dark’ or ‘Cath’ of albums past. Harmer’s bass, one of the most talented of the genre, buzzes and pulsates underneath eerie synthesised vocals. First single ‘You Are A Tourist’ provides a hook similar to that of the outstanding _Narrow Stairs_ track ‘Your New Twin Sized Bed’ and displays Death Cab for Cutie at their best.

Unfortunately, from this point forward, _Codes and Keys_ carries on in an all-too-similar vein. ‘Unobstructed Views’ is six minutes of unnecessary filler, meanwhile fast-paced, almost programmed drumming taps away under dreary and unimaginative lyrics in ‘Monday Morning’. This is not to say that the second half of the album has nothing to offer. ‘Portable Television’ sounds like a tribute to the millennial _We’ve Got The Facts And We’re Voting Yes (2000)_, showing Death Cab have not forgotten where they came from. ‘Underneath The Sycamore’ is easy listening and will not be long remembered, yet ‘St. Peter’s Cathedral’ epitomizes the beauty that Death Cab is capable of.

Acoustic guitar flutters underneath the lyrics “life is sweet”, in album closer, ‘Stay Young, Go Dancing’. Fans of Death Cab’s trademark gloomy sound might be surprised to hear such positivism. However, a quick glance at Gibbard’s life offers a reasonable explanation: married to actress/musician Zooey Deschenal and playing in one of the most established outfits of his generation, at the ripe age of 34, one must forgive Gibbard for being a little bit more upbeat than usual.

_Codes and Keys_ could be criticised for its banality, in the shadow of three incredible precursors. However, if one persists with _Codes and Keys_, it becomes evident that there is a maturity and comfort in their sound which presents an understated modesty on an album that does not reinvent the wheel, but keeps it spinning.