The News Herald (Willoughby, OH)
He, for one, is Thankful for ‘Today’
Newer Death Cab for Cutie member thrilled to be contributing to alt-rock favorite
Multi-instrumentalist Dave Depper has been crossing off a few bucketlist experiences of late, some of which were more fantasies than actual wish-list items.
The most notable achievement is being a part of the new Death Cab for Cutie album “Thank You for Today.” The band’s ninth studio effort, it marks the debut of Depper, as well as keyboardist-guitarist Zac Rae, joining the Ben Gibbard-led alternative act.
As for the new release, it, well, sounds like Death Cab for Cutie. And that’s what Depper — who over the past decade recorded and performed with Ray LaMontagne, Corin Tucker (Sleater-Kinney) and Robyn Hitchcock — said was part of the goal going into the studio.
“From that angle, Zac and I had a really unique perspective in that we’ve been listening to the band for a long time, and we’re able to sort of pick out aspects of Ben’s demos during the writing process that stuck out as being particularly Death Cab-like, but at the same time not wanting to make a throwback nostalgic record,” said Depper, calling from Mexico City.
“We were also figuring out how to move the sound forward and beyond, to find a sonic template that worked for the five of us. I think we got there.”
Album tracks that have the quintessential Death Cab for Cutie vibe — with Gibbard’s soft vocals supported by creative and melodic rock sounds and motifs — include “Your Hurricane” and “Summer Years.”
Depper said the demos for those songs were obviously in the group’s wheelhouse, while “60 & Punk” and “Gold Rush” weren’t as obvious.
The latter marks what Depper hopes will be many more Death Cab for Cutie firsts for him: He received a songwriting credit not only with Gibbard but also Yoko Ono due to it containing a sample of her 1971 song “Mind Train.”
“Not only do I have a credit on a Death Cab song, but it’s a Gibbard-DepperOno composition,” Tepper said. “It’s a pinch-me moment. My contribution is fairly minimal to that song. While it was worth a songwriting credit, I certainly don’t feel like I’m a co-author of that song in the traditional sense.
“Still, it became one of the bands biggest radio hits ever. People totally lose their minds when we play it.”
Depper said he’s losing his mind with new Beatles’ 50th-anniversary “The White Album” release, which finds him “nerding out” over the remastered tracks, as well as the official Esher demos.
“Sonically, a lot of it sounds like it could have been be recorded yesterday,” Tepper said. “The bass and the drums are so powerful. You can kind of bump it in your car, which is something I would ever say about The Beatles.
“Also, the alternate take of ‘Revolution’ — I keep listening to that, as well. It’s such a nerd-paradise moment for me. It’s awesome. It’s all I’ve been listening to. I put on other things, and they just seem blackand-white.”
The irony for Depper is the new Fab Four release ties back to “Gold Rush.” Sure, Ono famously was present and reportedly contributed to various aspects of “The White Album,” not to mention tension in the Abbey Road Studios, but he points out something that continues to blow his mind.
“It’s funny — the sample we took from Ono’s song actually has John Lennon playing guitar on it,” Depper said. “So John Lennon is very faintly playing guitar on ‘Gold Rush’ song. It’s crazy.”