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{{other uses}} {{Use mdy dates|date=July 2013}} {{Infobox album | name = Transatlanticism | type = studio | artist = [[Death Cab for Cutie]] | cover = Transatlanticism.jpg | alt = A picture of a crow with red thread in his mouth on a golden background. We can see the black words "Death Cab for Cutie" and "Transatlanticism" above the crow and the thread. | released = October 7, 2003 | recorded = December 2002 – June 2003 | venue = | studio = *[[Hall of Justice (studio)|Hall of Justice]], Seattle, Washington *[[Tiny Telephone Studios|Tiny Telephone]], San Francisco, California | genre = {{hlist|[[Indie rock]]|[[art rock]]|[[post-punk revival]]|[[indie pop]]|[[alternative rock]]}} | length = 45:38 | label = [[Barsuk Records|Barsuk]] | producer = [[Chris Walla]] | prev_title = [[The Photo Album]] | prev_year = 2001 | next_title = [[Studio X Sessions EP]] | next_year = 2004 | misc = {{Singles | name = Transatlanticism | type = studio | single1 = [[The New Year (song)|The New Year]] | single1date = February 16, 2004 | single2 = [[The Sound of Settling]] | single2date = August 23, 2004 | single3 = [[Title and Registration]] | single3date = 2005<ref name="TaR">{{cite web |title=Fierce Panda Records - Death Cab Forced To Cancel UK Tour |url=http://www.fiercepanda.co.uk/news.php?story=71 |date=25 October 2004 |accessdate=29 December 2024}}</ref> }} }} '''''Transatlanticism''''' is the fourth studio album by [[Rock music|rock]] band [[Death Cab for Cutie]], released on October 7, 2003, by [[Barsuk Records]]. At this point in their career, the group had toured and recorded for nearly a half-decade. With tensions rising, the band decided to take time away from one another; notably, [[Ben Gibbard]] collaborated with electronic musician [[Dntel]] (Jimmy Tamborello), and released an album, ''[[Give Up]]'', under the name [[the Postal Service]]. Death Cab regrouped in late 2002 to create ''Transatlanticism'', which was recorded in a leisurely manner over five-day stretches until June 2003. The record is a [[concept album]], exploring a theme of [[Long-distance relationship|long-distance romance]]. Gibbard penned the lyrics, which are somber and focus on the need to be loved. Musically, the album utilizes ambience and instrumental sparseness as an extension of this theme. The album's title, likewise, references the [[Atlantic Ocean]] and uses it as a metaphor for geographic and emotional separation. [[Chris Walla]], the band's guitarist, produced the album as he had for its predecessors. The album's artwork was created by artist Adde Russell. Prior to the album's release, ''Give Up'' had become a huge success, eventually going platinum—unusual territory for indie rock artists. The band were also referenced on the television drama ''[[The O.C.]]'', which increased their profile. Expectations for ''Transatlanticism'' were high, with the band receiving renewed attention. The album was a success: it charted at number 97 on the [[Billboard 200|''Billboard'' 200]], and was certified [[RIAA certification|Platinum]] by the [[Recording Industry Association of America]] (RIAA), for shipments of 1,000,000 copies in the United States. It received acclaim from music critics, who praised its emotional tone and expansive music. It is also the band's first album with drummer [[Jason McGerr]]. ==Background== Death Cab for Cutie formed in [[Bellingham, Washington]], in 1997 by singer-songwriter [[Ben Gibbard]], multi-instrumentalist [[Chris Walla]], bassist Nick Harmer, and drummer [[Nathan Good]]. Gibbard had met Walla during their tenure at [[Western Washington University]], and bonded over their taste in music. The quartet made their debut on the limited cassette release ''[[You Can Play These Songs with Chords]]''. The following year, the group relocated to [[Seattle]] to pursue music in earnest. Their proper debut album, ''[[Something About Airplanes]]'', was released on Seattle independent label [[Barsuk Records]]. They continued to build a following through relentless touring, and issued their second album, ''[[We Have the Facts and We're Voting Yes]]'', in 2000. The group shifted their percussionists numerous times: Good was replaced by Jayson Tolzdorf-Larson, and then by [[Michael Schorr]], with whom the band recorded their third LP, ''[[The Photo Album]]'', released in 2001.<ref name="Allmusic">{{cite web |last=Ankeny |first=Jason |title=Death Cab for Cutie |url={{AllMusic|class=artist|id=p365455|pure_url=yes}}|website=Allmusic|year=2005|access-date=August 20, 2019}}</ref> ''The Photo Album''{{'s}} creation was rushed for financial reasons. Each band member had recently left their [[day job]]s, with the band now their primary source of income for the first time. They had also set a tour for later in the year, which led to a rushed, difficult recording process.<ref name="ryr"/> Upon its release, ''The Photo Album'' represented the group's biggest success yet. It sold over 50,000 records at that time, which was unprecedented for an indie band. Despite this, relations between the band grew strained. The group had issues with Schorr, and Walla—who enjoyed recording music more than performing it—was feeling exhausted by the entire experience.<ref name="AV"/> It culminated in a tense fight at a tour stop in [[Baltimore]] in October 2001 where the band nearly broke up.<ref name="ryr"/> After their touring commitments were complete, the band took a hiatus.<ref name="htmi"/> Gibbard moved to the [[Silver Lake, Los Angeles|Silver Lake]] neighborhood of [[Los Angeles]], and began collaborating with [[electronic music]] artist [[Dntel]] (Jimmy Tamborello). The duo completed an album together, titled ''[[Give Up]]'', which was issued on [[Sub Pop Records]] in February 2003. It became a bigger success than either had imagined, selling over 500,000 copies within its first two years of release, and over one million within the decade.<ref>{{cite web | url=https://www.riaa.com/gold-platinum/?tab_active=default-award&se=the+postal+service | title=Gold & Platinum – RIAA | publisher=[[Recording Industry Association of America]] | access-date=August 20, 2019}}</ref> Walla, meanwhile, continued to explore his interest in recording, producing albums by [[the Thermals]] and [[the Decemberists]]. By the time the band regrouped to work on their next album, tensions had cooled. Schorr had departed the band and was replaced by drummer [[Jason McGerr]]. His addition assisted in bringing stability to the band, as his calm demeanor helped settle the band's previous dynamic.<ref name="altpress">{{cite web|url=https://www.altpress.com/features/death_cab_for_cutie_gutarist_producer_chris_walla_reflects_on_transatlantic/|title=Death Cab For Cutie gutarist/producer Chris Walla reflects on Transatlanticism|work=[[Alternative Press (magazine)|Alternative Press]]|date=November 20, 2013|first= Ryan|last=Wasoba|access-date=August 20, 2019}}</ref> ==Recording and production== [[File:Seattle - Antique store, circa 1975 (29222122747).jpg|thumb|[[Reciprocal Recording|The Hall of Justice]], the Seattle studio where Death Cab recorded ''Transatlanticism'', as it looked in the 1970s.]] ''Transatlanticism'' was recorded between December 2002 and June 2003.<ref name="discorder"/> The album was mainly recorded at [[Reciprocal Recording|the Hall of Justice]], a studio in Seattle's Fremont neighborhood that Walla purchased in 2000. A large portion of recording was also completed at [[Tiny Telephone Studios]] in [[San Francisco]], where Walla worked as an [[Recording engineer|engineer]].<ref name="cmj">{{cite news|url=https://books.google.com/books?id=5ikEAAAAMBAJ|title=Death Cab for Cutie: Coney Island of the Mind|work=[[CMJ]]|first=Kara|last=Zuaro|date=November 1, 2003|issue=18|issn=1074-6978|publisher=CMJ Network, Inc.}}</ref> He credited that studio as "the fifth member of the band", noting that its isolated location allowed him to "get locked in there in the most beautiful kind of way."<ref>{{cite web|last=Gale|first=Ezra|date=January 28, 2009|url=https://archives.sfweekly.com/sanfrancisco/tiny-telephone-celebrates-a-decade-in-indie-rock/Content?oid=2171114|title=Tiny Telephone celebrates a decade in indie rock |work=[[SF Weekly]]|access-date=August 20, 2019}}</ref> The group made a conscious effort to spread out the recording process across months and studios, as they had had a poor experience recording its predecessor in a short time frame.<ref name="sn"/> Sessions at both studios were typically held over five day spans, with the band working leisurely and allowing themselves time to return to the recordings later for a fresh perspective.<ref name="cmj"/><ref name="press">{{cite web|url=http://www.deathcabforcutie.com/press.html|title=Death Cab for Cutie: Press|website=DeathCabForCutie.com|archive-url=https://web.archive.org/web/20041208034515/http://www.deathcabforcutie.com/press.html|archive-date=December 8, 2004}}</ref> In contrast to the negative atmosphere that produced its predecessor, the working environment for ''Transatlanticism'' was a kind and creative one.<ref name="ryr"/> McGerr's joining the band refreshed their own commitment to the project, including Walla, who had at various times threatened to leave in the past. Gibbard considered it key that Walla was enjoying himself, and cited it as an integral piece to the album's success.<ref>{{cite web|url=https://medium.com/cuepoint/death-cab-for-cutie-s-ben-gibbard-deconstructs-the-science-of-songwriting-bbd085a06a2a|title=Death Cab for Cutie's Ben Gibbard Deconstructs the Science of Songwriting|first=Kelly|last=McCartney|website=Cuepoint|publisher=Medium|access-date=August 20, 2019|date=April 19, 2015}}</ref> To help spark inspiration during the recording process, the quartet utilized [[Oblique Strategies]], a card-based method for promoting creativity jointly created by musician [[Brian Eno]] and painter [[Peter Schmidt (artist)|Peter Schmidt]], first published in 1975.<ref name="cmj"/> As with previous Death Cab records, ''Transatlanticism'' was recorded entirely on [[analog tape]], avoiding the convenience of digital technology. With the extra time taken in the studio, the fidelity of the album is of a considerably higher quality than previous efforts.<ref name="mo">{{cite news|url=https://www.mixonline.com/recording/death-cab-cutie-365586|title=Death Cab for Cutie: Growing in the Studio, Making ''Plans''|first=Rick|last=Clark|date=January 1, 2006|work=[[Mix (magazine)|Mix]]|access-date=August 20, 2019}}</ref> The band recorded 12 songs, but left one incomplete at the time of its release.<ref name="ign"/> Prior to the album's release, Gibbard stated: "...unlike ''[[The Photo Album]]'', I feel like this record is definitely more like a proper album. We’ve tried to construct it with transitions of songs going in and out of each other, and I think it's a little bit more expansive than the last record."<ref name="discorder">{{cite web|last=Cooper|first=Merek|date=June 2003|url=http://www.discorder.ca/oldsite/features/03junedeathcab.html|title=Death Cab For Cutie|work=Discorder|access-date=July 7, 2011|archive-url=https://web.archive.org/web/20061027205148/http://www.discorder.ca/oldsite/features/03junedeathcab.html|archive-date=October 27, 2006}}</ref> ==Composition== {{Listen |pos = left |filename = Death_Cab_for_Cutie_-_Transatlanticism.ogg |title = "Transatlanticism" |description = Sample from the song "Transatlanticism". |format = [[Ogg]]}} Throughout its eleven tracks, ''Transatlanticism'' is a concept album exploring themes of isolation, sorrow, and long-distance romance.<ref name="seattlepi">{{cite news|last=Stout|first=Gene|date=May 7, 2004|url=http://www.seattlepi.com/ae/music/article/All-hail-Death-Cab-with-good-reason-1144266.php|title=All hail Death Cab, with good reason|newspaper=[[Seattle Post-Intelligencer]]|access-date=July 9, 2013}}</ref> Lauren Viera at the ''[[Chicago Tribune]]'' categorized the album's contents as "earnest love songs and bittersweet ballads."<ref name="ct03">{{cite news|first=Lauren|last=Viera|date=August 15, 2003|url=https://www.chicagotribune.com/news/ct-xpm-2003-08-15-0308150231-story.html|title=Songwriting a way of life for Gibbard|newspaper=[[Chicago Tribune]]|access-date=August 20, 2019}}</ref> When creating the LP, Gibbard felt "fascinated with the idea of geographic barriers as metaphors for personal, emotional barriers."<ref name="sn"/> The album's title is a word Gibbard created to reference the [[Atlantic Ocean]]'s vast reach and its ability to separate individuals. Harmer looked up the word and discovered it indeed already existed, having been used in science journals.<ref>{{cite news|title=Waterworks|date=November 1, 2003|first=Tim|last=Barber|work=[[Nylon (magazine)|Nylon]]}}</ref> The inspiration for the album's title track came from Gibbard observing individuals saying goodbye to each another at [[Heathrow Airport]], and knowing that they may not see one another for some time. "I had this fantastic idea of what if people were just able to transport themselves across the places or events that separated them," Gibbard told writer [[Andy Greenwald]] on the song's genesis.<ref name="sn"/> Prior to creating the album, Gibbard felt increasingly exhausted with touring, and had a relationship fall apart because of being away for so long. These experiences comprised what Gibbard reflected on as the "lowest" year in his life, and influenced the songwriting on ''Transatlanticism'' profoundly.<ref name="sn"/> He began to focus more on songwriting as a career. He was aiming to complete one song per day, and for the album, he brought the band 25–30 demo tracks.<ref name="altpress"/> Much of Gibbard's lyrics were composed during a "period of exile" when he was living in San Francisco,<ref name="press"/> house-sitting for [[John Vanderslice]], the artist and owner of Tiny Telephone Studios.<ref name="ign">{{cite web|url=https://www.ign.com/articles/2003/09/04/death-cab-for-cutie|title=Interview: Death Cab For Cutie|date=September 4, 2003|first1=Will|last1=Agrella|first2=Marty|last2=Smith|website=[[IGN]]|access-date=August 20, 2019}}</ref> Walla considered Gibbard's writing an improvement on past releases, later calling it "some of the most genuine and straightforward writing he's ever done, really open and unguarded in a way that was kind of new."<ref name="altpress"/> His work with Tamborello informed his songwriting for ''Transatlanticism'', with particular emphasis on redeveloping songs and deciding what to leave in or out.<ref name="ew03">{{cite magazine|title=Five Rounds with… Death Cab for Cutie|date=November 21, 2003|first=Steve|last=Kandell|issue=738|magazine=[[Entertainment Weekly]]}}</ref> Gibbard would submit his songs to the band, who from there would take them and redevelop them.<ref name="wsj">{{cite news|title=The Lonesome Lyrics of Ben Gibbard|date=January 21, 2004|first=Jim|last=Fusilli|page=D13|work=[[The Wall Street Journal]]}}</ref> The musicians would take each song, break it back down to its melody and lyrics, and completely re-work the original arrangement if they felt it creatively necessary. "By asking for, and allowing more input from all of us, we could all help each other to explore new territory and take a few more risks," Harmer said.<ref name="press"/> Greenwald, writing for [[MTV]], writes that the album's songs "slow dance between genres—lush, sensitive piano ballads bump up against and blur into kaleidoscopic guitar grooves."<ref name="sn"/> The album emphasizes ambient noises, including "clicks, whooshes, and whirs";<ref name="sn"/> the title track, for example, is built around the humming of an airplane engine.<ref name="cmj"/> Its mood is often somber or dark, which Gibbard figured was an extension of his [[point of view (philosophy)|point of view]] in life: "I have this sense of realism that sometimes is a little depressing," he confessed to ''Magnet'' in 2003.<ref name="magnet">{{cite news|title=Auto Focus|date=November 1, 2003|first=Josh|last=Modell|issue=61|page=15|work=[[Magnet (magazine)|Magnet]]}}</ref> Jim Fusilli, writing for ''[[The Wall Street Journal]]'', found the content on the album "often-gloomy, [but] yearning-for-optimism."<ref name="wsj"/> Walla rejected the notion that the content on the album was bleak, noting that Gibbard's lyrics are mainly a "real simple expression of need and needing to be loved."<ref name="mtv04">{{cite web|url=http://www.mtv.com/news/1486510/death-cab-for-cuties-sound-travels-farther-thanks-to-tv/|archive-url=https://web.archive.org/web/20141011211436/http://www.mtv.com/news/1486510/death-cab-for-cuties-sound-travels-farther-thanks-to-tv/|url-status=dead|archive-date=October 11, 2014|title=Death Cab for Cutie's 'Sound' Travels Farther Thanks to TV|date=April 30, 2004|access-date=August 20, 2019|work=MTV News|first=Rodrigo|last=Perez}}</ref> [[Kelefa Sanneh]], writing for ''[[The New York Times]]'', observed that an extension of the album's long-distance theme lies in each song's reliance "upon a single, fragile-sounding melodic line—a skein of broken guitar chords, a reverberating piano."<ref>{{cite news|title=Straight from the Heart of a Long-Distance Lover|date=October 25, 2003|first=Kelefa|last=Sanneh|work=[[The New York Times]]}}</ref> ==Artwork== The album's artwork was created by Seattle-based painter Adde Russell.<ref name="p4k"/> Russell knew Josh Rosenfeld, one of the founders of Barsuk Records, and McGerr had been her drum teacher. Rosenfeld asked the band if they would be interested in working with Russell, and they agreed. Russell began by producing a copious amount of artwork, in varying styles. "I had the expectation that either they'd find something in the mess that they liked or that the band would see how much work I'd done that they wouldn't have the heart to say no," she later remembered. The crow on the album cover was found by Russell in a hobby shop. Initially, it was a white styrofoam bird with red string. Harmer was particularly interested in this imagery, and continued her to keep working, and she eventually delivered the final album cover.<ref>{{cite web|url= https://www.thefourohfive.com/music/article/interview-adde-russell |archive-url= https://web.archive.org/web/20190808165937/https://www.thefourohfive.com/music/article/interview-adde-russell |url-status= dead |archive-date= 2019-08-08 |title=Interview: Adde Russell|date=January 12, 2009|website=The405.com|access-date=August 20, 2019}}</ref> Eric Gansworth, writing for ''At Length'' magazine, describes the album's inner sleeve: {{cquote|The striking image on the front cover, a soft-focus painting of a [[New World blackbird|blackbird]] ensnared in some kind of blood-red string is simultaneously iconic and mysterious. The interior booklet reveals an abundance of representational painting, [[collage]] and assemblage, visually echoing the album's themes with repeated imagery of red ropy tangles (reminiscent of anatomical textbook illustrations of [[arteries]]), blown electrical fuses, a [[hummingbird|humming bird]], rendered in "[[outsider art]]" fashion, a spectral human figure ambiguously situated in roiling water, narrowly cropped photos of train cars, and other repeated elements, some at the abstract end of the spectrum and others falling closer to [[graphic design]]. A figurative human hand, reminiscent of [[Adam]]'s reaching out to [[God]] on [[Michelangelo]]'s [[Sistine Chapel ceiling]], is also tangled in red tendrils. Depending on how you hold the booklet, it either opens an expanse of several [[minimalist]] panel-spreads with superimposed lyrics, or is in sharp juxtaposition against the hummingbird, its needle-like bill replacing the hand of God.<ref>{{cite news|url=http://atlengthmag.com/music/albums-at-length-death-cab-for-cuties-transatlanticism-10th-anniversary-edition/|first=Eric|last=Gansworth|title=Albums At Length: Death Cab for Cutie's Transatlanticism: 10th Anniversary Edition|work=At Length|access-date=August 20, 2019}}</ref>}} ==Release== Death Cab for Cutie first announced ''Transatlanticism'' on June 25, 2003, on ''[[Pitchfork (website)|Pitchfork]]''.<ref name="p4k">{{cite web|url=http://www.pitchforkmedia.com/news/03-06/25.shtml|title=Death Cab for Cutie Unveil Release Date, Tracklist for New Full-Length, Embark on Australian Tour|first1=Rod|last1=Waterman|first2=Kevin|last2=Keenan|website=[[Pitchfork (website)|Pitchfork]]|date=June 25, 2003|archive-url=https://web.archive.org/web/20030628181335/http://www.pitchforkmedia.com/news/03-06/25.shtml|archive-date=June 28, 2003}}</ref> In the interim between albums, the group had licensed its songs for usage on the popular television drama ''[[The O.C.]]'', which helped introduce them to a wider audience.<ref name="Larkin">{{cite book|last=Larkin|first=Colin|author-link=Colin Larkin (writer)|year=2011|chapter=Death Cab for Cutie|title=[[Encyclopedia of Popular Music]]|publisher=[[Omnibus Press]]|isbn=978-0857125958|edition=5th}}</ref> "A Lack of Color" was used on the show, and the band appeared as itself in an episode of [[The O.C. (season 2)|the second season]], performing "Title and Registration" and "The Sound of Settling" in the show's fictional music venue.<ref>{{cite web|last=Stern|first=Marlow|date=August 5, 2013|url=https://www.thedailybeast.com/bands-made-popular-by-the-oc-the-killers-death-cab-for-cutie-rooney-more|title=Bands Made Popular By 'The O.C.': The Killers, Death Cab for Cutie, Rooney, More|website=[[The Daily Beast]]|access-date=October 5, 2018}}</ref> This publicity, plus the wide success of Gibbard's other project, the Postal Service, led to considerably higher interest in ''Transatlanticism'' from the public. The album [[music leak|leaked]] online before its release; Gibbard called this a "good thing," noting, "if anything I like the idea of normal people getting a chance to hear it before it comes out."<ref name="ign"/> ''Transatlanticism'' was released on October 7, 2003, by Barsuk Records. It was released physically on compact disc, double-LP vinyl, and cassette; additionally, the record saw digital distribution on the [[iTunes Store]], which had debuted that year. In addition to regular formats, Barsuk also issued a limited release for audiophiles on [[Super Audio CD|SACD]],<ref name="mo"/> the initial successor to CDs that purported to have higher audio quality and more storage. Walla extolled the possibilities of the format in a profile for ''CMJ'' at that time: "I think on a really subconscious level, [SACDs make] music more compelling to listen to," he said.<ref name="cmj"/> Initial sales projections from the label were for first-week sales of between 6–8,000 copies. It debuted to over 15,000 copies sold,<ref name="ripped"/> and became their first album to chart on [[Billboard 200|''Billboard'' 200]] at number 97.<ref name="Billboard200"/> It had sold over 100,000 copies by the following April,<ref name="spin04"/> and by end of 2004, it had moved 225,000 copies.<ref name="htmi">{{cite book|title=How They Made It: True Stories of How Music's Biggest Stars Went from Start to Stardom!|url=https://archive.org/details/howtheymadeittru0000kimp|url-access=registration|first=Dan|last=Kimpel|year=2006|publisher=[[Hal Leonard Corporation]]|pages=[https://archive.org/details/howtheymadeittru0000kimp/page/31 31–35]|isbn=978-0634076428}}</ref> By 2007, the record had reached 530,000 copies sold, which music journalist [[Greg Kot]] judged was "a massive hit by indie-rock standards".<ref name="ripped"/> On April 29, 2008, it was certified [[RIAA certification|gold]] by the [[Recording Industry Association of America]] (RIAA).<ref name="RIAA">{{cite web|url=https://www.riaa.com/goldandplatinumdata.php?artist=%22Transatlanticism%22|title=Gold & Platinum Searchable Database: Transatlanticism|publisher=[[Recording Industry Association of America]] (RIAA)|access-date=July 9, 2013}}</ref> In 2013, to celebrate the album's tenth anniversary, Barsuk reissued the LP on vinyl. The label also released ''Transatlanticism Demos'', a collection of [[demo (music)|demo]] versions of songs from ''Transatlanticism''. ==Touring== The band regrouped to rehearse for the tour behind ''Transatlanticism'' in late 2003. In contrast to their previous live setups, which were simpler and more focused on the four instruments, the band made it a priority to include samplers to incorporate the soundscapes present on ''Transatlanticism''. Previously, the quartet had driven themselves from city to city in an [[Econoline]] van. For this tour, their accommodations were upgraded: they paid for a tour bus for the first time. Gibbard justified the expense in an interview with ''CMJ'': "All of us are past this [[Catholicity|Catholic]]-style indie-rock guilt about taking a bus. No, dude, taking a bus is rad."<ref name="cmj"/> They toured throughout late 2003 alongside [[Nada Surf]], [[The Long Winters]], and [[Mates of State]]. It was the band's first tour with only one supporting act per show. Their rationale was that as their catalog had grown, it felt more reasonable to play longer shows.<ref name="ign"/> In early 2004, they again toured the U.S., co-headlining with [[Ben Kweller]] snd [[Pedro the Lion]].<ref name="hc04">{{cite news|last=Danton|first=Eric R.|date=April 7, 2004|url=https://www.courant.com/news/connecticut/hc-xpm-2004-04-07-0404071308-story.html|title=A Killer Concert by Death Cab, Kweller|newspaper=[[Hartford Courant]]|access-date=August 20, 2019}}</ref> Its touring commitments for ''Transatlanticism'' included spots at the 2004 [[Coachella Festival]] in [[Indio, California]],<ref name="seattlepi"/> [[Siren Music Festival|New York's Siren Festival]], [[Q101 (internet radio)|Q101]]'s "Block Party" in [[Chicago]], and the "Bite of Portland" festival, a fundraiser for the [[Special Olympics]] Oregon.<ref name="news04">{{cite web|url=http://www.deathcabforcutie.com/news1.html|title=Death Cab for Cutie: News Archive|website=DeathCabForCutie.com|archive-url=https://web.archive.org/web/20041018105141/http://www.deathcabforcutie.com/news1.html|archive-date=October 18, 2004}}</ref> [[Pearl Jam]] invited the band to open for them on their 2004 [[Vote for Change]] tour, and the band concluded the year with another headlining tour across the U.S., between October and November 2004.<ref name="mtv041">{{cite web|url=http://www.mtv.com/news/1490525/death-cab-bash-bush-chill-with-the-boss-tour-relentlessly/|archive-url=https://web.archive.org/web/20141008002358/http://www.mtv.com/news/1490525/death-cab-bash-bush-chill-with-the-boss-tour-relentlessly/|url-status=dead|archive-date=October 8, 2014|title=Death Cab Bash Bush, Chill with the Boss, Tour Relentlessly|date=August 24, 2004|access-date=August 20, 2019|work=MTV News|first=Rodrigo|last=Perez}}</ref> They were originally set to open for [[pop punk]] group [[Blink-182]] that December,<ref>{{cite news|url=https://www.nme.com/news/music/blink-182-225-1363521|title=Blink-182 Take the Death Cab|date=July 11, 2004|work=[[NME]]|access-date=August 20, 2019}}</ref> but the band had to cancel as Gibbard developed a benign cyst on his leg that required surgery and a rest period.<ref name="news04-1">{{cite web|url=http://www.deathcabforcutie.com/news.html|title=Death Cab for Cutie: News|website=DeathCabForCutie.com|archive-url=https://web.archive.org/web/20041029022216/http://www.deathcabforcutie.com/news.html|archive-date=October 29, 2004}}</ref> All of the touring for ''Transatlanticism'' took place Stateside; touring overseas was complicated for the band, as their record label contracts were split between nine different companies there. These issues and the band's rising stardom led them to court major-labels in 2004.<ref name="ripped"/> The band's touring behind ''Transatlanticism'' is documented in the film ''Drive Well, Sleep Carefully'' by director Justin Mitchell.<ref name="htmi"/> ==Reception == {{Music ratings | MC = 85/100<ref name="MC"/> | rev1 = [[AllMusic]] | rev1Score = {{Rating|5|5}}<ref name="allmusic"/> | rev2 = ''[[The Baltimore Sun]]'' | rev2Score = {{Rating|3.5|4}}<ref>{{cite news|last=Klinge|first=Steve|date=January 15, 2004|title=Death Cab for Cutie: Transatlanticism (Barsuk)|newspaper=[[The Baltimore Sun]]}}</ref> | rev3 = ''[[Blender (magazine)|Blender]]'' | rev3Score = {{Rating|3|5}}<ref>{{cite magazine|last=Johnston|first=Maura|author-link=Maura Johnston|date=October 2003|url=http://blender.com/guide/reviews.aspx?id=1435|title=Death Cab for Cutie: Transatlanticism|magazine=[[Blender (magazine)|Blender]]|page=116|issue=20|access-date=May 26, 2016|archive-url=https://web.archive.org/web/20051122230618/http://blender.com/guide/reviews.aspx?id=1435|archive-date=November 22, 2005|url-status=dead}}</ref> | rev4 = ''[[Chicago Sun-Times]]'' | rev4Score = {{Rating|3.5|4}}<ref>{{cite news|last=DeRogatis|first=Jim|author-link=Jim DeRogatis|date=October 5, 2003|url=https://www.highbeam.com/doc/1P2-1504869.html|title=Death Cab For Cutie, 'Trans-Atlanticism' (Barsuk)|newspaper=[[Chicago Sun-Times]]|access-date=December 15, 2016|url-access=subscription|archive-url=https://web.archive.org/web/20121103034444/http://www.highbeam.com/doc/1P2-1504869.html|archive-date=November 3, 2012|url-status=dead}}</ref> | rev5 = ''[[Mojo (magazine)|Mojo]]'' | rev5Score = {{Rating|3|5}}<ref name="mojo">{{cite magazine|title=Death Cab for Cutie: Transatlanticism|magazine=[[Mojo (magazine)|Mojo]]|page=122|issue=121|date=December 2003}}</ref> | rev6 = ''[[Pitchfork (website)|Pitchfork]]'' | rev6Score = 6.4/10 {{small|(2003)}}<ref name="pitchfork"/><br />8.4/10 {{small|(2013)}}<ref name="pitchfork2"/> | rev7 = ''[[Rolling Stone]]'' | rev7Score = {{Rating|3.5|5}}<ref name="rs">{{cite magazine|last=Tsang|first=Teri|date=November 10, 2003|url=https://www.rollingstone.com/music/albumreviews/transatlanticism-20031110|title=Transatlanticism|magazine=[[Rolling Stone]]|access-date=June 5, 2013}}</ref> | rev8 = ''[[Slant Magazine]]'' | rev8Score = {{Rating|4|5}}<ref name="slant">{{cite web|last=Cinquemani|first=Sal|date=November 13, 2003|url=http://www.slantmagazine.com/music/review/death-cab-for-cutie-transatlanticism|title=Death Cab For Cutie: Transatlanticism|work=[[Slant Magazine]]|access-date=June 5, 2013}}</ref> | rev9 = ''[[Spin (magazine)|Spin]]'' | rev9Score = A−<ref name="spin"/> | rev10 = ''[[Uncut (magazine)|Uncut]]'' | rev10Score = {{Rating|4|5}}<ref name="uncut"/> }} ''Transatlanticism'' was met with widespread critical acclaim. At [[Metacritic]], which assigns a [[standard score|normalized]] rating out of 100 to reviews from mainstream publications, the album received an [[weighted mean|average]] score of 85, based on 21 reviews.<ref name="MC">{{cite web|url=http://www.metacritic.com/music/transatlanticism/death-cab-for-cutie|title=Reviews for Transatlanticism by Death Cab for Cutie|website=[[Metacritic]]|access-date=July 9, 2013}}</ref> ''[[Uncut (magazine)|Uncut]]'' magazine hailed it as "a record of rare beauty and poise",<ref name="uncut">{{cite magazine|url=http://www.uncut.co.uk/death-cab-for-cutie/death-cab-for-cutie-transatlanticism-review|title=Death Cab For Cutie – Transatlanticism|magazine=[[Uncut (magazine)|Uncut]]|page=107|issue=78|date=November 2003|access-date=July 9, 2013|archive-url=https://web.archive.org/web/20170821002600/http://www.uncut.co.uk/reviews/album/death-cab-for-cutie-transatlanticism|archive-date=August 21, 2017|url-status=dead}}</ref> and ''[[Alternative Press (magazine)|Alternative Press]]'' deemed it "Death Cab's slowest and most mature recording" with "hidden bits of magic [that] reveal themselves brilliantly."<ref name="ap">{{cite magazine|title=Death Cab for Cutie: Transatlanticism|journal=[[Alternative Press (magazine)|Alternative Press]]|page=98|issue=184|date=November 2003}}</ref> Andy Greenwald from ''[[Spin (magazine)|Spin]]'' found the imagery of the lyrics strikingly vivid while praising Gibbard and Walla's musical direction.<ref name="spin">{{cite magazine|last=Greenwald|first=Andy|url=https://books.google.com/books?id=JZ4ej5RmWFUC&pg=PA112|title=Death Cab for Cutie, 'Transatlanticism' (Barsuk)|magazine=[[Spin (magazine)|Spin]]|page=112|volume=19|issue=11|date=November 2003|access-date=June 5, 2013}}</ref> Rob Theakston of [[AllMusic]] wrote that ''Transatlanticism'' is "such a decadently good listen from start to finish" because of the band's maturity as songwriters and musicians.<ref name="allmusic">{{cite web|last=Theakston|first=Rob|url=http://www.allmusic.com/album/transatlanticism-mw0000319183|title=Transatlanticism – Death Cab for Cutie|website=[[AllMusic]]|access-date=September 4, 2020}}</ref> In ''[[The A.V. Club]]'', [[Stephen Thompson (journalist)|Stephen Thompson]] said the record "surpasses Gibbard's other career highpoints", calling it "a lush, impeccably produced, musically adventurous, emotionally resonant examination of the way relationships are both strengthened and damaged by distance".<ref>{{cite news|last=Thompson|first=Stephen|author-link=Stephen Thompson (journalist)|date=October 6, 2003|url=http://www.avclub.com/articles/death-cab-for-cutie-transatlanticism,11768/|archive-url=https://web.archive.org/web/20100407204145/http://www.avclub.com/articles/death-cab-for-cutie-transatlanticism%2C11768/|url-status=dead|archive-date=April 7, 2010|title=Death Cab For Cutie: Transatlanticism|newspaper=[[The A.V. Club]]|location=Chicago|access-date=June 5, 2013}}</ref> ''[[PopMatters]]'' critic Christine Klunk said it was a "nearly perfect pop record" whose straightforward melodies and honest narratives extolled the human condition.<ref name="popmatters1">{{cite web|last=Klunk|first=Christine|date=October 14, 2003|url=http://www.popmatters.com/pm/review/deathcabforcutie-transatlanticism/|title=Death Cab for Cutie: Transatlanticism|work=[[PopMatters]]|access-date=July 9, 2013}}</ref> William Morris from ''[[Pitchfork (website)|Pitchfork]]'' was more critical, lamenting what he felt were Gibbard's more generalized lyrics and less edge to the band's "usually acute divinations".<ref name="pitchfork">{{cite web|last=Morris|first=William|date=October 7, 2003|url=http://pitchfork.com/reviews/albums/2232-transatlanticism/|title=Death Cab for Cutie: Transatlanticism|work=[[Pitchfork (website)|Pitchfork]]|access-date=July 7, 2011}}</ref> ''[[Stylus Magazine]]''{{'}}s Colin McElligatt said despite his strong melodies, he had regressed as a lyricist and sounded more "asinine" than before.<ref name="stylus">{{cite web|last=McElligatt|first=Colin|date=October 9, 2003|url=http://stylusmagazine.com/reviews/death-cab-for-cutie/transatlanticism.htm|title=Death Cab for Cutie – Transatlanticism – Review|work=[[Stylus Magazine]]|access-date=July 9, 2013|archive-url=https://web.archive.org/web/20160304110143/http://stylusmagazine.com/reviews/death-cab-for-cutie/transatlanticism.htm|archive-date=March 4, 2016|url-status=dead}}</ref> In ''[[The Village Voice]]'', [[Robert Christgau]] cited "We Looked Like Giants" as a "choice cut",<ref>{{cite news|last=Christgau|first=Robert|author-link=Robert Christgau|date=January 13, 2004|url=http://www.robertchristgau.com/xg/cg/cgv104-04.php|title=Consumer Guide: MLK Fever|newspaper=[[The Village Voice]]|location=New York|access-date=June 5, 2013}}</ref> indicating "a good song on an album that isn't worth your time or money".<ref>{{cite web|last=Christgau|first=Robert|url=http://www.robertchristgau.com/xg/bk-cg90/grades-90s.php|title=CG 90s: Key to Icons|publisher=Robert Christgau|year=2000|access-date=June 5, 2013}}</ref> In 2011, ''Transatlanticism'' was named by [[NPR Music]] as one of the fifty most important recordings of the 2000s decade,<ref>{{cite web|last=Boilen|first=Bob|date=November 16, 2009|url=https://www.npr.org/blogs/allsongs/2009/11/the_decades_50_most_important.html|title=The Decade's 50 Most Important Recordings|publisher=[[NPR]]|access-date=July 7, 2011}}</ref> while ''[[Rolling Stone]]'' ranked it 57th on the magazine's decade-end list.<ref>{{cite magazine|date=July 18, 2011|url=https://www.rollingstone.com/music/lists/100-best-albums-of-the-2000s-20110718/death-cab-for-cutie-transatlanticism-20110714|title=100 Best Albums of the 2000s|magazine=[[Rolling Stone]]|access-date=May 26, 2016}}</ref> In 2013, Death Cab for Cutie re-released the album, marking its 10th anniversary with a remaster available as vinyl or MP3 download, including demos for all the songs from the album.<ref name=NPR>{{cite web|last=Thompson|first=Stephen|date=October 20, 2013|url=https://www.npr.org/2013/10/20/236397034/first-listen-death-cab-for-cutie-transatlanticism-tenth-anniversary-edition|title=First Listen: Death Cab For Cutie, 'Transatlanticism (10th Anniversary Edition)'|publisher=[[NPR]]|access-date=October 20, 2013}}</ref> In a retrospective piece that year, ''[[Entertainment Weekly]]''{{'}}s Kyle Anderson called ''Transatlanticism'' a "classic indie-rock album",<ref>{{cite magazine|last=Anderson|first=Kyle|date=October 7, 2013|url=http://www.ew.com/article/2013/10/07/death-cab-for-cutie-transatlanticism-10-year-anniversary|title=Death Cab For Cutie's 'Transatlanticism' turns 10 -- looking back at a classic indie-rock album|magazine=[[Entertainment Weekly]]|access-date=May 22, 2016}}</ref> while ''Pitchfork'' editor Ian Cohen wrote, "few records open themselves up to forge those kind of moments, to be a formative emotional and listening experience, pushing you to feel what you're thinking (to flip a line from 'Lightness'), daring to be universal enough to allow you to see yourself in it."<ref name="pitchfork2">{{cite web|last=Cohen|first=Ian|date=November 6, 2013|url=http://pitchfork.com/reviews/albums/18656-death-cab-for-cutie-transatlanticism/|title=Death Cab for Cutie: Transatlanticism|work=[[Pitchfork (website)|Pitchfork]]|access-date=May 21, 2016}}</ref> ==Legacy== ''Transatlanticism'' was released at a moment where indie rock became a cultural force, gaining popularity outside its typical fanbases. Death Cab, like [[the Shins]], [[Modest Mouse]], and [[Interpol (band)|Interpol]], saw increased popularity and record sales.<ref>{{cite magazine|title=The Return of (Good) Alt-Rock|date=July 9, 2004|first1=Michael|last1=Endelman|first2=Brian|last2=Hiatt|magazine=[[Entertainment Weekly]]|issue=773}}</ref> The album also became a crossover hit for [[emo]] fans. In a cover story for ''Spin'' at that time, writer Andy Greenwald suggested that "Death Cab have found a way to communicate intimate, insular indie rock to the budding teen-emo overground".<ref name="spin04"/> The group rejected their association with emo music, turning down an offer to tour with [[Dashboard Confessional]],<ref name="mtv04"/> to whom they were frequently compared.<ref name="spin04">{{cite news|title=Bright Lights, Big City|first=Andy|last=Greenwald|author-link=Andy Greenwald|work=[[Spin (magazine)|Spin]]|date=April 1, 2004|volume=20|issue=4|issn=0886-3032|url=https://books.google.com/books?id=mOL9JKjjbdcC}}</ref> The band sparked a major-label bidding war, with [[A&R]] representatives viewing them as America's answer to the band [[Coldplay]].<ref name="spin04"/> [[Interscope]]'s [[Jimmy Iovine]] vied to sign both the Postal Service and Death Cab, reportedly exclaiming, "Why would I only want the one that doesn't sell as much as the other one?"<ref name="AV">{{cite web|url=http://avclub.com/content/node/41269/|title=Interview: Death Cab for Cutie|work=[[The A.V. Club]]|publisher=[[The Onion]]|first= Marc|last=Hawthorne|date=October 5, 2005|access-date=August 20, 2019|archive-url=https://web.archive.org/web/20051229172118/http://avclub.com/content/node/41269/|archive-date=December 29, 2005}}</ref> Gibbard viewed the band's increasing profile excitedly: "We're over being an indie rock band. We're proud of what we've accomplished, but it's far more exciting to me to reach an audience that stretches beyond any genre or age group." <ref name="sn">{{cite news|title=Q?/A!: Seattle's Death Cab for Cutie makes a crossover bid with Transatlanticism|first=Andy|last=Greenwald|pages=51–53|work=[[MTV|SN: MTV’s Spankin’ New Magazine]]}}</ref> By November 2004, the group had left Barsuk and signed a worldwide, long-term deal with major label [[Atlantic Records]]. The process to sign the band was a difficult, year-long affair; Atlantic had to buy out the rest of the quartet's Barsuk contract and pay that label for the remaining two albums it owed them.<ref name="ripped">{{cite book|title=[[Ripped: How the Wired Generation Revolutionized Music]]|first=Greg|last=Kot|author-link=Greg Kot|publisher=[[Simon and Schuster]]|year=2010|isbn=978-1416547310}}</ref> Gibbard has since ranked ''Transatlanticism'' as his favorite album by the band, remarking that with both the release of ''Give Up'' and ''Transatlanticism'', "I’ve never had a more creatively inspired year."<ref name="ryr">{{cite web|url=https://www.vice.com/en/article/rank-your-records-death-cab-for-cutie-ben-gibbard/|title=Ben Gibbard Ranks Death Cab for Cutie's Eight Albums|date=August 9, 2018|first=Dan|last=Ozzi|website=Noisey|publisher=Vice|access-date=August 20, 2019}}</ref> ==Track listing== All lyrics written by Ben Gibbard. {{Track listing | title1 = [[The New Year (song)|The New Year]] | music1 = [[Ben Gibbard]], Nick Harmer, [[Jason McGerr]], [[Chris Walla]] | length1 = 4:06 | title2 = Lightness | music2 = Gibbard | length2 = 3:30 | title3 = [[Title and Registration]] | music3 = Gibbard, Walla | length3 = 3:39 | title4 = Expo '86 | music4 = Gibbard, Walla | length4 = 4:11 | title5 = [[The Sound of Settling]] | music5 = Gibbard | length5 = 2:12 | title6 = Tiny Vessels | music6 = Gibbard, Harmer | length6 = 4:21 | title7 = Transatlanticism | music7 = Gibbard, Walla | length7 = 7:55 | title8 = Passenger Seat | music8 = Gibbard | length8 = 3:41 | title9 = Death of an Interior Decorator | music9 = Gibbard | length9 = 2:56 | title10 = We Looked Like Giants | music10 = Gibbard, Harmer, McGerr, Walla | length10 = 5:32 | title11 = A Lack of Color | music11 = Gibbard | length11 = 3:35 }} {{Track listing | headline = 2013 reissue bonus vinyl LP/MP3 download<ref name=NPR/> | title1 = The New Year (Demo) | music1 = [[Ben Gibbard]], Nick Harmer, [[Jason McGerr]], [[Chris Walla]] | length1 = 3:17 | title2 = Lightness (Demo) | music2 = Gibbard | length2 = 4:24 | title3 = [[Title and Registration]] (Demo) | music3 = Gibbard, Walla | length3 = 3:42 | title4 = Expo '86 (Demo) | music4 = Gibbard, Walla | length4 = 5:00 | title5 = [[The Sound of Settling]] (Demo) | music5 = Gibbard | length5 = 2:36 | title6 = Tiny Vessels (Demo) | music6 = Gibbard, Harmer | length6 = 4:55 | title7 = Transatlanticism (Demo) | music7 = Gibbard, Walla | length7 = 6:13 | title8 = Passenger Seat (Demo) | music8 = Gibbard | length8 = 3:19 | title9 = Death of An Interior Decorator (Demo) | music9 = Gibbard | length9 = 3:11 | title10 = We Looked Like Giants (Demo) | music10 = Gibbard, Harmer, McGerr, Walla | length10 = 3:52 | title11 = A Lack of Color (Demo) | music11 = Gibbard | length11 = 3:24 }} ==Personnel== '''Death Cab for Cutie''' * [[Benjamin Gibbard]] – vocals, guitar, piano, foot-stomp and hand clap effects on "The Sound of Settling" * Nick Harmer – bass guitar, vocals on "Transatlanticism", foot-stomp and hand clap effects on "The Sound of Settling" * [[Jason McGerr]] – drums, percussion, foot-stomp and hand clap effects on "The Sound of Settling" * [[Christopher Walla]] – guitar, keyboards, samples, production, [[Audio mixing (recorded music)|mixing]] (except “Expo 86” and "The Sound of Settling"), recording, vocals on "Transatlanticism" '''Additional personnel''' * Ed Brooks – [[Audio mastering|mastering]] * [[John Goodmanson]] – mixing on “Expo 86” and "The Sound of Settling" * Rob Herbst – foot-stomp and hand clap effects on "The Sound of Settling" * [[Sean Nelson]] – vocals on "Transatlanticism" * [[John Roderick (musician)|John Roderick]] – vocals on "Transatlanticism" * [[Phil Wandscher]] – vocals on "Transatlanticism" == Charts == {| class="wikitable sortable plainrowheaders" |- !scope="col"|Chart (2003–04) !scope="col"|Peak<br>position |- {{Album chart|Billboard200|97|artist=Death Cab for Cutie|access-date=July 9, 2013|rowheader=true|refname="Billboard200"}} |- {{Album chart|BillboardIndependent|8|artist=Death Cab for Cutie|access-date=July 9, 2013|rowheader=true}} |} ==Certifications== {{Certification Table Top}} {{Certification Table Entry|region=Canada|artist=Death Cab For Cutie|title=Transatlanticism|award=Gold|type=album|digital=true|relyear=2006|certyear=2019|access-date=March 21, 2019}} {{Certification Table Entry|region=United States|artist=Death Cab For Cutie|title=Transatlanticism|award=Platinum|type=album|relyear=2006|certyear=2023|access-date=March 17, 2019}} {{Certification Table Bottom|nosales=true|noshipments=true|streaming=true}} ==References== {{reflist|30em}} == External links == * {{Discogs master|3528|type=album}} {{Death Cab for Cutie}} {{Authority control}} [[Category:2003 albums]] [[Category:Barsuk Records albums]] [[Category:2000s concept albums]] [[Category:Death Cab for Cutie albums]]
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