Despite the dismal imagery that accompanies death and dismemberment, when both hit the 9:30 Club, as they did Tuesday night, there’s nothing of the sort. Add some Cex to the mixture, and you’ve got the makings of the next Evil Dead movie?or, maybe just a relucant indie band and some hometown pop-rockers trying to fool their unsuspecting admirers. As Death Cab for Cutie and the Dismemberment Plan near the halfway mark of their 30 shows in 30 days, little is slowing these guys down.
Cex, nom-de-plume of one Rjyan Kidwell, kicked off the show with his over-the-top personality, performing with an iMac notebook to provide the beat behind his rapped vocals. Championing pop-culture goofiness, claiming at one point that “I am the white R. Kelly,” Cex garnered a good deal of audience participation, due mainly to his perfection of the “call-and-response” format, usually led by cheerleaders at basketball games (think, “I say ‘Spell your God,’ you say ‘F-U-N’”). Despite lingering questions as to whether or not Cex takes himself seriously, he remained an entertaining opening one-man show.
The less self-assured indie band Death Cab for Cutie performed next. The thoughtful, lyrical qualities of Seattle-based Death Cab’s sound mixed well with lead singer/guitarist/keyboardist Ben Gibbard’s vocals, which remind some of Built to Spill’s Doug Martsch. Though the band seemed uneasy at the start of playing in front of a sold-out crowd, guitarist Christopher Walla broke the ice and provided most of the light-hearted banter, all in a happy five-year-old voice. However, as the show continued, the band relaxed and as the band gained confidence, Gibbard at the keyboard was bouncing in his chair as if testing out new springs in a mattress. After settling into “Information Travels Fast,” Gibbard even took time to give a nostalgic look at his fellow bandmates and smile, as if content with the venue, the audience and the music.
Focusing mostly on songs from their recent LP, The Photo Album, the band played “A Movie Script Ending,” as well as “Why You’d Want to Live Here” to an enthusiastic audience that identified with Gibbard’s view of Los Angeles as an “overfed and over-populated bunker.” While Death Cab is best at gentle, spiraling moods, the band also ventured into aggressive sounds, ending on a short but strong riff, proving its ability is not limited to melodies.
The solidarity between the acts was evidenced when Walla prepped the audience for Dismemberment Plan, “If you aren’t dancing to the Plan, I’m going to come out there and get you.” Fortunately, or, unfortunately for swooning girls, the Dismemberment Plan did not need Walla to get the audience dancing. After lead singer Travis Morrison called for middle-aged black men to the front, about 40 audience members (none of which were black or middle-aged) clammered on stage to dance to a favorite, “Ice of Boston.” After the song, a lingering drunk woman even grabbed the microphone to sing a capella.
From the opening song, “Time Bomb,” the Dismemberment Plan felt at home on stage, which made perfect sense, because the band hails from the District. Described as post-punk, with disparate funk and soul undercurrents, The Plan’s characteristically bizarre song structure, experimental sound, stuttering lyrics and time changes, are showcased well live.
Morrison, at first, seems more like a Banana Republic model then a musician, but after feverishly playing the keyboard with his head and breaking out his own dance moves, he secured a spot as a bona fide rock star. Drummer Joe Easley, one of the best drummer in indie rock, kept the pace and swing while clad in workout attire. Enjoying the atmosphere, he broke out in drum improvs while Morrison switched guitars.
While the band’s latest album, Change, provided the Plan with a vast array of crowd pleasers, the band also offered some classics. For “You Are Invited,” the bandmates left the stage while a solitary Morrison remained on stage for a brilliantly poetic solo, and upon the bandmates’ return, they ended the same song rocking out on a high note.
For two of the most critically acclaimed bands today, both Death Cab For Cutie and the Dismemberment Plan lived up to expectations. Most of the reason for the rocking live show is that both bands (not to mention Cex) were having a good time on stage. After all, what more would a fan want, than the people they idolize to be having F-U-N?
