The Postal Service
As crazy as it sounds, the two creative minds behind the Postal Service (Jimmy Tamborello and Ben Gibbard) never met before working together. It seems Tamborello, a Death Cab For Cutie fan, asked its lead singer to come to L.A. and record vocals for his Dntel project, and Gibbard did! Of course, it probably helped that Tamborello's roomie is Pedro Benito from the Jealous Sound; either way, this initial meeting of musical minds was the genesis of the Postal Service. The two continued to collaborate for the better part of ten months, each mailing the other songs to add parts to, until all ten tracks for their debut album were completed. Inspired by their creative process, the duo dubbed themselves the Postal Service. Sub Pop released the 1980s-influenced fruits of their labor under the title Give Up in early 2003.
The Postal Service Concert Films
Everything Will Change
The Postal Service
Runtime: 1 hr 26 minEverything Will Change is a feature-length documentary concert film of The Postal Service s performance at the Greek Theater in Berkeley, CA during their 2013 reunion tour. A collaboration between Benjamin Gibbard (of Death Cab for Cutie) and Jimmy Tamborello (from Dntel), with Rilo Kiley s Jenny Lewis, The Postal Service released Give Up, their one and only album, in 2003. That record went on to sell over a million copies and most of the band s fans never had the chance to see them perform live. In celebration of the 10-year anniversary of Give Up, the band reunited to tour the world. With never-before-seen live recordings, intimate interviews and backstage footage of the band, Everything Will Change captures one of the nights when everything did change.
The Postal Service Top Tracks
Tegan And Sara
Runtime: 2 hr 4 minThese twin sisters are an engaging live act and have slowly amassed a sizable following over the past decade and a half. They’ve done it by writing smart, quirky folk-pop tunes that are as emotionally true as they are catchy. Tegan and Sara’s studio albums have given them the luxury of adding accompaniment, but their live performances have been stripped to acoustic guitars, keyboards, and their intuitive vocals. The show recorded here was performed for family and friends at a Vancouver studio, so the sound is excellent and well-controlled. “Relief Next to Me” is nicely detailed. “The Ocean” could be a beatnik’s dream. “I Hear Noises” is exquisite folk, beautifully restrained. “Call It Off” is touching and gentle. “I Won’t Be Left” furiously strums with intention, with the bonus of drums accentuating the new wave pop drive. Their entire catalog is raided to great effect; just hearing the ache in Tegan’s voice should be enough to convince a skeptic.
Front Row Center
Death Cab For Cutie
Runtime: 54 minIndie rock favorite turned major label sensation Death Cab for Cutie presents an impeccable set on this episode of Soundstage. Lead vocalist Ben Gibbard’s cozy voice has an engaging quality that ropes you in on songs from their new EP The Open Door, 2008 studio album Narrow Stairs and highlights from their prolific catalog.
Live at The Metro Theatre
Runtime: 1 hr 41 minHailing from Portland, Oregon The Decemberists made their first Australian pilgrimage on the back of their 2009 release - The Hazards Of Love - the follow-up to their 2006 breakthrough, The Crane Wife. Here they are performing at The Metro Theatre, in Sydney, Australia, on January 19, 2010.
Live at the Music Hall of Williamsburg
Ra Ra Riot
Runtime: 60 minRa Ra Riot are on an alluring career trajectory. The band has gone from small-town favorites to big stage stars, and their recent swing through our city for four nights at both The Bowery Ballroom and The Music Hall of Williamsburg seemed the perfect time to capture their ascent.
Starting off as contemporaries to bands like Vampire Weekend, Ra Ra Riot has been something of a slow burner, choosing to develop and nurture a sound rather than cashing in on one, quick aesthetic. Following the release of their polished, Chris Walla produced sophomore album The Orchard, the band now find themselves at a point of promise. The intricacies of their arrangements rival many of the so-called art-rockers, with heaps more accessibility. While The Orchard dropped hooks for heady, reverberated decorations, the ornate finish provides a complimentary side to a band still building its foundation.