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Death Cab for Cutie
We Have the Facts & We're Voting Yes

Death Cab for Cutie — We Have the Facts & We're Voting Yes (March 21, 2000)

United States Death Cab for Cutie — We Have the Facts & We're Voting Yes 
•   We Have the Facts and We're Voting Yes was ranked the 14th Greatest Indie Rock album of all time by Amazon.com.
Formed: 1997 in Bellingham, WA
Location: Seattle, WA
Album release: 2015 [March 21, 2000]
Recorded: 1999 at The Hall of Justice
Record Label: Barsuk Records
Duration:     41:53
01. "Title Track" (Gibbard)     3:29
02. "The Employment Pages" (Gibbard)     4:04
03. "For What Reason" (Gibbard)     2:52
04. "Lowell, MA" (Gibbard/Walla)     3:28
05. "405" (Gibbard)     3:37
06. "Little Fury Bugs" (Gibbard)      3:48
07. "Company Calls" (Gibbard/Harmer/Walla)     3:19
08. "Company Calls Epilogue" (Gibbard)     5:16
09. "No Joy in Mudville" (Gibbard/Harmer/Walla)     6:03
10. "Scientist Studies" (Gibbard)     5:56
2000 Barsuk Records
• Released in 2000, We Have the Facts and We're Voting Yes is the second studio album by Death Cab for Cutie, and is considered to be a landmark indie rock album of the early 2000s.
•   Ben Gibbard Composer
•   Nathan Good Drums
•   Nick Harmer Composer
•   Tony Lash Mastering
•   Michael Schorr Composer
•   Chris Walla Composer, Engineer, Glockenspiel, Mixing, Percussion, Piano (Electric), Producer, Sampling, Telecaster, Vocals (Background)
Death Cab for Cutie:
•   Ben Gibbard — vocals, electric and acoustic guitars, drums, percussion, Casiotone, organ
•   Nathan Good — drums on "The Employment Pages" and "Company Calls Epilogue"
•   Nick Harmer — bass guitar
•   Chris Walla — guitar, electric piano, backing vocals, percussion, glockenspiel, samples, production, mixing
Additional personnel
•   Tony Lash — mastering
Notable instruments Ben Gibbard:
•   G&L ASAT Classic Bluesboy
•   Fender Telecaster
•   Fender Coronado
Review by Jack Rabid, Score: ****
•   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. — Jack Rabid; allmusic.com
•   On their debut album, 1999's Something About Airplanes, Death Cab for Cutie proved there's a reason why Northwest music critics continue to sing their praises. The foursome combined the emo sounds of Modest Mouse and 764–Hero with an inventive, and often sly, sentimentality. It worked wonders, but still sounded a little too lo–fi. Luckily, on We Have the Facts and We're Voting Yes the group has figured out all the production nuances that flawed that auspicious debut. The opening "Title Track" begins by sounding both crappy and shallow, but the band is merely pulling your leg; two minutes later, the tune expands into a gorgeous, well–produced masterpiece. The album never looks back. Ben Gibbard's songwriting continues to evolve — "Company Calls" segues into, what else, the slower "Company Calls Epilogue" — while the simple lyrics of "For What Reason" and "405" tell infectious stories that demand repeated listenings. Proof positive the Northwest is still churning out great music. — Jason Verlinde
By Brent DiCrescenzo; March 31, 2000; Score: 7.5
•   There's something about the Pacific Northwest. Perhaps it's being overshadowed by towering evergreens that instills a modest reverence for beauty. Perhaps it's the evergreens remaining ever green under the gusts of snow which keeps hope alive. Perhaps it's the cradling of cold coast and the Rocky wall. Whatever the causes, the Pacific Northwest has played womb to some of the most skyward, heart–wrenching, and gentle pop music of recent history.
•   The trademarks of the Northwest sound continue to be cherubic eunuchs on vocals, crisp production, slow rollercoaster melodies, and tales of crushes and the crushed. Built to Spill, Elliott Smith, Quasi, Sunny Day Real Estate, and even Modest Mouse and Caustic Resin, to some extent, all revolve around this central axis of Northwestern pop. In two short albums, Death Cab for Cutie have firmly established a stylistic nexus from which all of these bands spoke. Like history in reverse, We Have the Facts and We're Voting Yes documents the proto–Northwest sound as a footnote to a decade of tranquilizing rock.
•   Death Cab for Cutie effortlessly weep gems like a band stuck deep in a comfortable career. Subcutaneous organ and glockenspiel infuse warm, rich tones which bruise slowly between skeletal percussion and waxy guitar pickings. Sometimes the band patiently fills wooden cathedrals with echoes of reverberating slowcore, like on "No Joy in Mudville" and "The Employment Pages". The latter builds to an e–bow climax that weakens like a welcome influenza. "For What Reason", "Lowell, MA", and "Company Calls" click along at quick clips, yet maintain the shroud of delicate beauty thanks to Ben Gibbard's lachrymose wails. From a distance, the group appears manilla. But even top secret documents come stuffed in manilla. Subtle technological flourishes glimmer under the organic pulp like microchips in lumberjacking valleys.
•   If fault can be found, it's Death Cab for Cutie's continual quest to shine a diamond from petrified wood and dark coal instead of letting some of the rough, raw rock pass through. But then again, that's why the Northwest gave us Modest Mouse and Built to Spill. Guitar heroics can be found elsewhere. Death Cab for Cutie have a killer name and lugubrious elixir. The hooks are barbless and coated in Novocaine. They pull through your skin and leave obscure scars. But in today's rock climate, this sort of gentle niche makes for a relaxing vacation with some good prospects of getting laid. :: http://pitchfork.com/
Website: http://deathcabforcutie.com/
Facebook: https://www.facebook.com/deathcabforcutie
Ben Gibbard: http://benjamingibbard.net/
Review by Tyler Fisher, August 27th, 2006 | Score: 3.0
:: http://www.sputnikmusic.com/review/8912/Death-Cab-for-Cutie-We-Have-the-Facts-and-Were-Voting-Yes/
•   1997 You Can Play These Songs with Chords
•   1998 Something About Airplanes
•   2000 We Have the Facts and We're Voting Yes
•   2001 The Photo Album
•   2003 Transatlanticism
•   2005 Plans
•   2008 Narrow Stairs
•   2011 Codes and Keys
•   2015 Kintsugi

Death Cab for Cutie
We Have the Facts & We're Voting Yes



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