Lindsey Hurd

Indie and rock fans will be happy to discover that Death Cab For Cutie’s fourth effort is their best yet.

Death Cab for Cutie originated in Bellingham, Wash., a small suburb of Seattle in 1997. Don’t be too quick to categorize these men with the constant stream of new bands that constantly come out of Washington, because with the release of their fourth album, Transatlanticism, Death Cab For Cutie has proven their talent and staying power.

The name of the album, Transatlanticism, is the band’s own made-up word to “describe distances so vast and daunting that they seem impossible to breach.

“Appropriate, because distance and travel seem to be widespread themes throughout the disc. The track “Transaltlanticism” contains Death Cab’s description of the formation of clouds, islands and oceans. “The New Year” ends in a repeating chorus of “there’d be no distance that could hold us back.”

In “We Looked Like Giants” Death Cab recollects days of skipping classes to road trip en route to young love.

The opening track on the record, “The New Year,” is definitely the most radio-friendly track “The New Year,” like the rest of the tracks on Transatlanticism, are all written by Ben Gibbard.

My favorite track on the album is “Title and Registration.” Gibbard speaks of rummaging through a glove compartment only to find pictures he had hoped he’d forgotten.

“Cause behind its door there’s nothing to keep my fingers warm, and all I find are souvenirs from better times,” he sings.

This song is one of many that reminisce lost love.

Many of Gibbard’s lyrics are introspective and poetic, and at times pessimistic.

Each word fits with the next, painting perfect pictures. That combined with Chris Walla’s crystal clear production skills, and we’ve got some tear jerkers on our hands.

Initially compared to the likes of rock-god Radiohead, Modest Mouse and Built to Spill, Death Cab is paving its own way through the confines of genres and labels, making a name for themselves among music lovers of all kinds.

4 stars