Walla’s unique style shines through on new album

Walla’s new album Field Manual ranges from somber to Death Cab poppy.

By Joey Vergara

Published Feb. 1, 2008

Field Manual’s opening track, “Two-Fifty,” isn’t what you would expect from Death Cab for Cutie’s resident producer/guitarist extraordinaire Chris Walla.

It begins with an ominous a cappella warning: “All hail an imminent collapse/You can fumble for your maps/But we’re exhausted by the facts,” and chugs along with electronic beats and looping guitars.

As the song continues, it becomes obvious that Walla, once Ben Gibbard’s goofy, sweet-natured sidekick, has found his own voice. And on his first go, at that.

It’s not all moping about for Walla, though, as he warms up and addresses love, politics and, most importantly, hope on his debut.

Walla has proven himself time and again as one of the best producers today (Rick Rubin who?).

Field Manual marks another achievement in his string of hits: Death Cab for Cutie, The Decemberists, Tegan and Sara.

As good as the lyrics and music may be, the production work on Field Manual, which Warne Livesey (The The) contributed to, outshines all else. Perhaps because Walla is a bassist at heart, having picked up the instrument before ever “becoming” a guitarist, the bass on Field Manual isn’t overwhelmed by guitar but rather fits in just right.

The complementary partnership sounds great under Walla’s guidance. When it comes to vocals, Walla’s intriguing pop voice steps out from Death Cab’s shadow.

He echoes on “Two-Fifty” with an electronic tinge and sounds just a bit hoarse on the pensive “Everyone Needs a Home.” All in all, Walla comes off somewhat reserved on Field Manual, but it works well for him.

Periodically, Walla contrasts the running gait of the majority of the album, which makes certain songs sound too much alike.

“A Bird Is a Song” is comparatively bare — 8-track quality vocals, empty acoustic guitar and a steady synth pulse that only joins the song halfway through.

Immediately after the song’s conclusion, though, the urgent, poppy “Geometry & C” rips in. These jubilant songs are where the rarely audible Death Cab influence drips into Field Manual, but that’s mostly because of Walla’s characteristic guitar work. Again, these songs (“Our Plans, Collapsing,” “Archer V. Light” and “St. Modesto” among them) come suspiciously close to sounding too much like the same song played over and over.

The drums, performed by Death Cab’s Jason McGerr and The New Pornographers’ Kurt Dahle, feature the occasional cymbal-work and give various songs a marching tone.

The final two tracks, “It’s Unsustainable” and “Holes,” make for quite the emotional ending to Field Manual.

The former, a mellow waltz that takes its time to reach full intensity, pulls at heartstrings with its lyrics. “Holes” minimizes things even further with just Walla and electric guitar doing all the talking.

It turns out you can take the boy out of the Death Cab and take the Death Cab out of the boy. So here’s to weird song titles and solo projects, Chris Walla.