US underground sensations' fourth studio album is truly a major work, blending subtle intelligent songwriting, amazing production, boundless creativity, and thoughtful rock. This is their best offering to date - dreamy and lovelorn in places, but also epic, gritty and twisted in others.

"Codes and Keys" is the seventh studio album by Death Cab for Cutie. By their 7th studio album, many bands are running out of creative steam and original ideas. But in the case of Death Cab for Cutie, nothing could be further from the truth. "Codes and Keys" is singular in the quartet’s catalog when it comes to sonic exploration and lyrical ambition. If anything, the band has never sounded more excited to experiment with textures, words, sounds and even the process of recording itself.

"Plans" is the fifth studio album by indie rock band Death Cab for Cutie. "Plans" is a shockingly beautiful and mature album from a group that itself is still maturing. Death Cab for Cutie is that rare band that aren’t afraid to tackle the big thought, to wrestle with the complex, never black and white realities of human interaction. From its soaring beginning to its somber end, "Plans" is the sound of growing up, of gaining friends and losing them, of realising, perhaps for the first time, the weight and consequences of every decision we make, of every heart we touch. It is an album about growing old that can grow old with us.

Death Cab’s mix of youthful fragility and deep, romantic yearning is one of the hallmarks of modern rock. Even at their most melodramatic, they maintain composure in ways their emo ancestors didn’t, and their 10th album in a now-25-year career is no exception. But like the imagery behind its title, Asphalt Meadows is a rougher sound than the sometimes porcelain smoothness of their 2010s albums, mining similar tender—brisk New Wave (“I Miss Strangers,” “Asphalt Meadows”), gentle Americana (“Rand McNally”), and big, atmospheric ballads (“I’ll Never Give Up On You”).

"The Photo Album" is Death Cab for Cutie's third studio album and was released in 2001. It was produced by Chris Walla and well-received by critics.

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.

KINTSUGI, which follows 2011s GRAMMY Award-nominated CODES AND KEYS marks Death Cab for Cutie s first new album since the departure last year of founding guitarist/keyboardist/producer Chris Walla. Recorded in Los Angeles with Rich Costey (Franz Ferdinand, Muse, Interpol) behind the board, the album takes its title from the Japanese art of repairing broken ceramics with precious metals like gold, silver, and platinum, highlighting cracks rather than hiding them. As such, kintsugi represents a compassionate aesthetic philosophy in which damage and wear are embraced as part of an objects history.