With Kintsugi, Death Cab For Cutie continue down the electronically-embellished path they raced down with Codes and Keys (2011), although the twee and platitudinous attempt at making happy music the band presented with their previous release is gone, replaced with a reflective ennui and resignation that forms an accessible emotional progression from the angst and aching sadness of earlier albums.
The songs on Kintsugi are more instrumentally stripped-down and vocally raw and soulful, many of their melodies abandoning Death Cab for Cutie’s characteristic mechanical structure for more indulgent and open-ended tunes: hear “You’ve Haunted Me All My Life”; “Hold No Guns”; “Binary Sea”.
The electronica used on this album, compared with that of Codes and Keys, is also much pleasanter to listen to: less clicky noise and more minimalistic intensification of the music’s emotional objectives: hear the static backing underlining the bridge in “The Ghosts of Beverly Drive”.
Another pleasing change is the stirring driving bass beat flowing under much of the music, which lends a freshly folky sound to much of it: hear “Good Help (Is So Hard To Find)”, itself a creative use of upbeat disco backing to float such a coolly grim message.
While Kintsugi doesn’t treat us to the Gold Standard Death Cab for Cutie that emerged in Transatlanticism (2003) and reappeared in Narrow Stairs (2008), hardened fans may well find new all-time favorite tracks in this collection.
“Black Sun” is a masterpiece strongly reminiscent of “Grapevine Fires” (Narrow Stairs),
and “Binary Sea” offers a poignant homage to the digital age, as opposed to patronisingly denouncing its many miracles, as too many lyrics and Facebook posts do today:
Oh come, my love, and swim with me
out in this vast Binary Sea
Zeros and ones, patterns appear
They’ll prove to all that we were here
For if there is no document,
we cannot build our monument
So look into the lens and
I’ll make sure this moment never dies