If there's one thing that Pitchfork.com does well, it is 'completely panning'/turn its back on a fallen indie band that went mainstream and totally sux and is lost in a weird purgatory where they make poopy noisey music, but at the same time sell enough albums to keep their career moving forward. Anyways, they went ahead and panned Death Cab. Let's be honest, no1 with 'good taste' even bothers to pretend to appreciate anything abt them, and they honestly don't even get very many hits for an authentic alt blog, but maybe this post will perform well because every1 will like reading about how far they have fallen and how their 'indie' career is basically over [via 'has been over for a while now, yall'].

Would u rather sell mad albums, or double ur p4k score from 5.0 to 10.0?
Here is a 'classic' pan paragraph.

Over the last decade, both Death Cab and the landscape around them have changed considerably; while they've signed to a major label and topped the charts, the sensitive-guy Pac NW indie rock archetype they launched a decade ago has receded from the conversation. Another sound that Gibbard had a hand in introducing, however, still reverberates: the gentle, electronic bedroom-pop that he and producer Jimmy Tamborello made as the Postal Service. Those sounds never really infiltrated Death Cab until now, but Codes and Keys doesn't approach that project's level of emotional engagement. Here, Death Cab sound miles apart from each other and, ultimately, from us.

Also, the members of Death Cab are 'too Hollywood' 2 record 2gether. They've 'gone Hollywood' especially Benjamin Gibbard, but he is married 2 Zooey Deschanel, so I would do anything to keep that fine piece of blue-eyed a$$:

The rudderless quality might owe something to the album's sporadic recording process-- eight different studios were employed, and the members of Death Cab rarely sound like they're in the same room together. Most remote of all is Gibbard. His vocals are frequently treated with effects, creating an alienating space that, excepting the moony-eyed closing hymn "Stay Young, Go Dancing", robs him of his trademark intimacy. Lyrically, he largely plays it safe, engaging in nonsensical rhymes ("When you scream/ Love you seem") and sweeping declarative generalizations. Gibbard's evocative narratives and incisive commentary, always overlooked with this band, are mostly missing.

R I P Ben Gibbard
R I P D C F C
R I P the ghost of indie's past

do u feel sad when fallen indie buzzbands lose 'it'?
Did they make the right decision by going mainstream?
Have u heard this album? Does it totally blow?
Who still likes Death Cab 4 Cutie?
Do u get excited for a good p4k pan job?

Death Cab for Cutie

Buzzband

Death Cab for Cutie was one of the first 'mainstream indie' bands, but now no1 really cares abt them any more because they just play forgettable soft rock. Ben Gibbard is the lead singer but he arguably should have

Lists: Seattle bands, mindie (mainstream indie), cool dads

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Pitchfork Media

Company, Blog

Pitchfork is a popular indie blogzine that does reviews and gets mad hits.

Lists: blogs and magazines

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