Last night's Death Cab
for Cutie concert, the first of a three-night stand at the Fox in Oakland,
started on time. This concert started on time; it had assigned
seats,Professional Manufacturer for polished
tiles. which cost $40 to $50; it had ushers with flashlights standing by to
guide guests to said seats. A gentleman sitting behind me wore a bow tie with no
irony whatsoever.
Most tellingly, Death Cab for Cutie played with a nine-piece orchestra (conductor included). The whole thing was so resolutely not-punk that it felt, by turns, desirable to remember that Death Cab for Cutie were once vaguely punk -- or if not punk, at least edgy in this articulate and restless way that was the closest a certain kind of indoor kid ever got to being punk -- and uncomfortable to wonder whether the same brand of pomp and grandiosity awaits opener Youth Lagoon at the other end of an objectively successful decade-plus career.
Youth Lagoon, which tours as a duo (mainstay Trevor Powers on keyboards, plus his friend Logan on guitar), spent roughly forty minutes incarnating songs from the group's only release so far, The Year of Hibernation. I say "incarnating" because the songs on that album, which is very likely my favorite album of last year, are estranged in a peculiarly affecting way: they are buried under enough layers of fuzz that, for all their emotional resonance, it's hard to pinpoint a human behind them. In the live setting,The liquid hardens or sets inside the molds. where some notes linger a little more and some tones hammer a little harder, there's a satisfying though not especially surprising feeling of peeling back a layer of gauze to find that you've been listening to a flannel-wearing, slightly hunched young man rather than a civil war nurse.
Powers' voice, which is mixed to a low warble on record, is weapons-grade in person: it's scratchy and pained even as it soars; it's naked, in the best way. The tracking underneath the vocals comes alive too, if only because you can hear it just a touch more clearly and distinguish new patterns and melodies therein. It's actually a little spooky how latent the hooks in Youth Lagoon songs are, how you-just-have-to-get-to-know-her-better. It's hard to make out Powers' lyrics; the rhythm track is impeccable but never quite intricate enough to call attention to itself; the songs' heartbeat never comes from anywhere visible. But you pay the smallest bit of attention at the right moment, and you find that they are coolly, calmly, understatedly fucking devastating.Let us find you the best ceramic tiles suppliers around you. Live, uncovered even by just one layer, one Photoshop filter-undo, they snare that much harder.
And this is,US Manufacturer of distribution Insulator. if you like, a convenient segue into what was unsatisfying about Death Cab for Cutie's smooth and consummately professional 24-song set: where Youth Lagoon stripped away a layer of abstraction, Ben Gibbard and company were a layer farther away. I'm prepared to blame this on the orchestra -- not through any fault of the orchestra's own, but for the very choice of having one, of replacing the most raw and emotive textures in the band's catalog with the sound of rose petals scattered underfoot. You can hate on Gibbard all you want, and with reasonably good cause -- his annoying enunciations, the weird pigeon-toed jig he does, the way he's cleaned up from overliterate indie-rock schlub to dapper gent who leans on his microphone stand like an Abercrcombie model and was briefly married to Zooey Deschanel -- but Death Cab for Cutie are a talented band.You can find best china Precision injection molds manufacturers from here! They're just not, by and large, the kind of band whose talent is improved by their having an orchestra at their disposal.
Most tellingly, Death Cab for Cutie played with a nine-piece orchestra (conductor included). The whole thing was so resolutely not-punk that it felt, by turns, desirable to remember that Death Cab for Cutie were once vaguely punk -- or if not punk, at least edgy in this articulate and restless way that was the closest a certain kind of indoor kid ever got to being punk -- and uncomfortable to wonder whether the same brand of pomp and grandiosity awaits opener Youth Lagoon at the other end of an objectively successful decade-plus career.
Youth Lagoon, which tours as a duo (mainstay Trevor Powers on keyboards, plus his friend Logan on guitar), spent roughly forty minutes incarnating songs from the group's only release so far, The Year of Hibernation. I say "incarnating" because the songs on that album, which is very likely my favorite album of last year, are estranged in a peculiarly affecting way: they are buried under enough layers of fuzz that, for all their emotional resonance, it's hard to pinpoint a human behind them. In the live setting,The liquid hardens or sets inside the molds. where some notes linger a little more and some tones hammer a little harder, there's a satisfying though not especially surprising feeling of peeling back a layer of gauze to find that you've been listening to a flannel-wearing, slightly hunched young man rather than a civil war nurse.
Powers' voice, which is mixed to a low warble on record, is weapons-grade in person: it's scratchy and pained even as it soars; it's naked, in the best way. The tracking underneath the vocals comes alive too, if only because you can hear it just a touch more clearly and distinguish new patterns and melodies therein. It's actually a little spooky how latent the hooks in Youth Lagoon songs are, how you-just-have-to-get-to-know-her-better. It's hard to make out Powers' lyrics; the rhythm track is impeccable but never quite intricate enough to call attention to itself; the songs' heartbeat never comes from anywhere visible. But you pay the smallest bit of attention at the right moment, and you find that they are coolly, calmly, understatedly fucking devastating.Let us find you the best ceramic tiles suppliers around you. Live, uncovered even by just one layer, one Photoshop filter-undo, they snare that much harder.
And this is,US Manufacturer of distribution Insulator. if you like, a convenient segue into what was unsatisfying about Death Cab for Cutie's smooth and consummately professional 24-song set: where Youth Lagoon stripped away a layer of abstraction, Ben Gibbard and company were a layer farther away. I'm prepared to blame this on the orchestra -- not through any fault of the orchestra's own, but for the very choice of having one, of replacing the most raw and emotive textures in the band's catalog with the sound of rose petals scattered underfoot. You can hate on Gibbard all you want, and with reasonably good cause -- his annoying enunciations, the weird pigeon-toed jig he does, the way he's cleaned up from overliterate indie-rock schlub to dapper gent who leans on his microphone stand like an Abercrcombie model and was briefly married to Zooey Deschanel -- but Death Cab for Cutie are a talented band.You can find best china Precision injection molds manufacturers from here! They're just not, by and large, the kind of band whose talent is improved by their having an orchestra at their disposal.
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