We Have the Facts and We're Voting Yes
Download links and information about We Have the Facts and We're Voting Yes by Death Cab For Cutie. This album was released in 2000 and it belongs to Rock, Alternative Rock, Indie Rock, Pop, Alternative genres. It contains 10 tracks with total duration of 41:52 minutes.
|Artist:||Death Cab For Cutie|
|Genre:||Rock, Alternative Rock, Indie Rock, Pop, Alternative|
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|Buy on iTunes $9.90|
|Buy on Amazon $9.49|
|Buy on Music Bazaar €1.18|
|2.||The Employment Pages||4:04|
|3.||For What Reason||2:52|
|6.||Little Fury Bugs||3:48|
|8.||Company Calls Epilogue||5:16|
|9.||No Joy in Mudville||6:03|
Like the also-great Idaho or Wheat, to file Death Cab for Cutie under the mellow-pop umbrella that shelters tranquil chamber outfits such as Red House Painters, Low, or (post-dance-pop) Talk Talk would do them a gross, miscalculated service. While they're no strangers to the tickling knelling of guitars searching out the extra space found in laggard tempos, that predilection only encompasses a fourth of Death Cab for Cutie's output (like on "Title Track" and "Little Fury Bugs"). Heck, they're not even remotely quiet for half of We Have the Facts and We're Voting Yes — the best and brightest LP of their three fine albums to date. Ben Gibbard has turned into a sublime composer, using melodies sparingly but with splendid tunefulness, as all four players marinate his writing with delicately plucked, picked, and pulled arpeggios, ringing chords, and non-obvious atmosphere building. Verily, the slow, broody stuff is but a change of pace; it's when the volume doubles (if only occasionally crashes), when the band shows potency, that We Have the Facts starts flying, soaring with exigency beyond even the threatening storm clouds from the last flight plan, 1998's Something About Airplanes. "Lowell, MA" and "Company Calls" are perfect examples: drummer Nathan Good actually gets to punish his snare and toms, the other three dig in with him, and the words "indie pop" suddenly sounds fresh and alive, with real aggressive, post-dream pop guitar popscapes. Loud and soft, or most of all both, and plenty of points in between, DCFC write and record finished songs that emote, that do more than merely fill a slot in a form in a preconceived genre. In short, they're superb. And getting greater.