Well where do I start with this band. Before signing to a major they simply were one of the biggest small bands in America. Despite being on an Indie label, they were a hot name on the tip of any self respecting indie kids tongue, me included. With celebrity fans, one of those being Adam Brody of the O.C. fame, also name checking your band at every chance surely its only a mater of time before you get noticed. Well that’s the story of Death Cab For Cutie pretty much. After being on Barzuk for their entire shelf life it was always going to be interesting to hear the out put when they make the shift to major label Atlantic records.

After doing a stellar job on previous record "Transatlantacism" Death Cabs very own guitarist Chris Walla steps up to take control from the producer’s chair once again. Upon listening the man has done it again. Chris' production has given DCFC what they had needed pre-transatlantacism. This being a distinctive sound, the idea of this is only pushed further on this record. Keyboards are added, which the lazier around us will compare to the Postal Service. If listened to properly on the other hand many will begin to notice this is a whole different monster. Where the Postal Service went quirky with the keyboards DCFC reach for the indie ballads (and no by ballads I don’t mean Phil Collins). Album opener "Marching Bands of Manhattan" shows this indie ballad idea perfectly. It builds and builds and builds into a great anthemic song and as the track fades it only leaves you waiting with anticipation ten other tracks to follow.

The idea of great indie pop ballads continues throughout the album with the usual traits of DCFC seen throughout yet mixed with several new ideas through which only bring out their lovable pop side more to the adoring public. These results can best be seen on "Different Names for the Same Thing", "Brothers on a Hotel Bed" and "Crooked Teeth", with the later surely being a single in the near future.

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