“If I had been Jay Z, I would have brought out ten artists that were underground or independent and said, ‘These are the people who are struggling to make a living in today’s music industry. Whereas this competitor streaming site pays this person 15 cents for X amount of streams, that same amount of streams on my site, on Tidal, will pay that artist this much,’” Gibbard says. “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.”
In the following Thread, the two friends swap stories about how much they love (and fret about) their respective hometowns, the daily routines of rock musicians, and the perils of pissing off their fans.
For me, seeing bands not only being great but also humble and acceptable – that's something that's always been built into the ethic and aesthetic of this city. It doesn't matter how famous you get outside of Seattle; you can't come back and act like an asshole "rock star." If you move to New York or Los Angeles or maybe Nashville, you could go out and be like, "That's a super famous rock star. That's just how he acts." But Seattle doesn't play that shit.
When we finished the last record he had actually suggested that maybe we work with an outside person the next time, just as a way to shake things up. He’s produced all of our albums, so he’s always kind of had the right of first refusal anyway. When we got started on this record he just sort of resumed the producer role, but as we got a little further into the process he was like, “Well, maybe I’m not the best guy for this record,” and that was really fine. It wasn’t like we suddenly had the rug pulled out from under us or anything. We weren’t suddenly in a state of free fall.
Short version: I’m leaving Death Cab for Cutie. My last show with the band will be September 13, 2014, at the Rifflandia Festival in Victoria, BC. I hope you guys can make it. Longer version: I think I long for the unknown. It might be that simple. I will miss being a quarter of this band, and will support whatever course Death Cab for Cutie chooses from here. I am profoundly grateful to Ben, Nick, and Jason, for the experiences that define my adult life. Truly grateful, beyond words. Thank you.
Hit the replies to watch a video for Budweiser and Jay Z's "Made in America" video series that spotlights Seattle. The video features Ben Gibbard, Tacocat, La Luz, and the staff of Sub Pop talking abot their city. More episodes will be airing leading up to the Made in America Festival later this year.
Frank Turner & The Sleeping Souls may have put on the best performance of Boston Calling. The pace was set immediately as they opened with "Photosynthesis," in which Turner wailed on his trusty acoustic and guitarist Ben Lloyd ripped a solo on the electric mandolin. It was Turner's 1,568th show, as he proudly told the audience, but his boundless energy (perhaps owed to his hardcore roots) made it feel one-of-a-kind.
Death Cab For Cutie's much-loved record Transatlanticism turns 10 this October and Barsuk will be releasing an anniversary edition digitally and on vinyl. Both versions will come with a download code for a collection of demos from the album. That collection will also be available separately if you already own the LP. You can stream the demo version of "Lightness" in the replies as well as check out the album art and track listing. All of this will be available on October 29th.
Salon has posted an article looking at the reaction some fans of The Postal Service had upon learning that the opening act for their recent tour was Big Freedia. The title of the article, "White music fans are afraid of difference: When Postal Service fans get aggressively upset over a black opening act, that's evidence of a bigger problem," may turn some readers off -- but the article is definitely worth the read and discussion.
Maybe the most pissed and confounded Twitter responders to Big Freedia’s show hate rap, hip-hop and butts. But I bet they don’t. They appear to be white people mostly in their late 20s like me, and I bet they consume all kinds of music. But they were walking...
The latest installment in Built To Spill's Brett Nelson's Electronic Anthology Project features new renditions of Death Cab For Cutie's "Soul Meets Body" and "Champagne From a Paper Cup." It'll be available digitally tomorrow and on 7" vinyl in August. For now you can hear the new "Soul Meets Body" over at Pitchfork.
Ben Gibbard (Death Cab For Cutie) and Brett Nelson (Built To Spill) are teaming up to remake Death Cab For Cutie songs into synth pop versions. On July 2, a digital single will be released collecting synth pop remakes of "Soul Meets Body" (off 2005's Plans) and "Champagne From a Paper Cup" (off 1998's Something About Airplanes). The two songs will also be pressed to colored 7" vinyl following the digital release.
Death Cab for Cutie has announced an additional front-to-back performance of Transatlanticism. The show will take place at McMenamins Edgefield in Troutdale, OR on August 31st in addition to the band's Bumbershoot set in Seattle the next day.
We are writing to thank you for your purchase of this set and to address a problem that you may have discovered. By now, many of you have received your set, and you may be wondering why several of the records are mislabeled. It has been discovered that the records were mixed up at the manufacturing plant during production. We are looking into this issue and are working diligently to understand how this mix-up occurred. Rest assured, we will fix each and every one of the sets that are mislabeled. This will require us to have the mislabeled albums remanufactured and reshipped out...