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It’s been such a blast taking these songs apart to see how they work and then putting them back together again.” The new LP is due July 28, as a part of Turntable Kitchen’s Sounds Delicious monthly vinyl subscription series. In a press release, Gibbard explained why he chose the particular record: “Bandwagonesque is my favorite record by my favorite band of all time.” He continued, “It came along at a pivotal time in my musical life and I’ve loved it for over 25 years.“I think they totally blew it by bringing out a bunch of millionaires and billionaires and propping them up onstage and then having them all complain about not being paid.”“There was a wonderful opportunity squandered to highlight what this service would mean for artists who are struggling and to make a plea to people’s hearts and pocketbooks to pay a little more for this service that was going to pay these artists a more reasonable streaming rate,” he continues. That’s why this thing is going to fail miserably.”As for Kitsungi, Gibbard could not be less concerned about what the critics are saying.He doesn’t read reviews (“I’m not particularly interested in them”) and he knows his band’s strengths and, more importantly, his audience.“At this point, I’ve been doing this band for 17 years [and], you know, we’re a polarizing band.Which (more likely because of the protests and public pressure than just the letter itself), they did. In 2011, when Death Cab for Cutie released its seventh studio album Codes and Keys, frontman Ben Gibbard was (literally) in a very different place.And after yesterday’s rulings, it sounds like they’ll need that support more than ever. On top of that, a federal judge denied the Water Protectors’ request for a preliminary injunction prohibiting law enforcement from using grenades and water cannons to break up pipeline protests.
Wenn du auf unsere Webseite klickst oder hier navigierst, stimmst du der Erfassung von Informationen durch Cookies auf und außerhalb von Facebook zu.“A public breakup is obviously a large part of that narrative and people are going to connect those dots.That’s fair, I suppose.”The record is also the band’s last as a quartet: longtime guitarist and producer Chris Walla left the band in September 2014, citing a “longing for the unknown.” (Rich Costey, best known for working with Muse and TV on the Radio, stepped in as producer to help make what Gibbard deems “one of our best records.”)So indeed, a lot has happened in the last two years, both for the band and for Gibbard. “our generation’s struggle.”At the time of our talk, Indiana governor Mike Pence was busy backpedaling on a newly signed, conservative-sponsored “religious freedom” law, which bars the government from hampering a person’s ability to exercise their “religion” (read: gives businesses the right to discriminate against gays on “religious” grounds).Gibbard himself disagrees with the notion of Kintsugi as a monument to a breakup, but on certain songs, it’s clear whom Gibbard was inspired by.“Was I in your way / When the cameras turned to face you?
/ No room in frame / For two,” Gibbard sings on the album’s opening track, “No Room in Frame.” The song’s narrator speeds down a California freeway away from “a ghost,” but breaks down and resigns in the end: “I guess it’s not a failure we could help / And we’ll both go on to get lonely with someone else.”“This record spans two years of my life [from early 2012 to 2014] and a lot has gone on in those two years,” Gibbard, now 38, concedes over the phone from Seattle.I believe water is more precious than oil and thoroughly support the right of the Standing Rock Sioux Tribe to defend both their land and sovereign treaty rights.