The student news site of Marquette University

Marquette Wire

The student news site of Marquette University

Marquette Wire

The student news site of Marquette University

Marquette Wire

Indie rockers roll to Rave

Death Cab for Cutie drummer Jason McGerr has a bit of advice for those traveling abroad: "Bring a history book."

Just returning from a three-and-a-half week run in Europe and a two-day stint in Japan, McGerr would know.

"It was all great, all amazing," McGerr says. "Being in Berlin and seeing bullet holes in a wall, crossing the Iron Curtain and being on the other side. I don't understand how I could record something in a small studio in Seattle and then have someone in Germany waiting in line to see me.

"In Japan (the fans) would applaud like mad and then you wouldn't hear a peep from them while we were playing. There was no talking or anything. You could hear a pin drop. (And when) we took the bullet train, I got off in Osaka and felt like I had left my body in Tokyo, moving at 140 mph."

Just two years ago, McGerr had no idea he would be experiencing all this. He joined Death Cab for Cutie — Ben Gibbard (vocals/guitar/keyboards), Chris Walla (keyboards/guitar) and Nick Harmer (bass) — in October 2002, replacing Nathan Good on drums and percussion. But it wasn't hard easing into the new role.

All four band members grew up in Bellingham, Wash., and McGerr had played with Harmer for several years in a band called Eureka Farm.

"As I like to say, 'We've had a crush on each other for a long time,'" McGerr says with a laugh. "I've known them forever; we're all peers, we're all friends. The fact that we knew each other, there was no personal bulls— to clean up before we could get started.

"I had all of their albums. I already knew the songs. I was sort of ready to go."

And just like that, McGerr was part of the team. In October 2003, Death Cab for Cutie put out Transatlanticism, which McGerr believes is their most complex piece of work with its various layers and textures.

"I think up until Transatlanticism, the band has been very bass, guitars, vocals, drums, a traditional rock and roll format and rock and roll songs," McGerr says. "On Transatlanticism, we took a long time in the studio. If someone had an idea, we tried it. We didn't start out to make a crazy, eclectic record. But on some of the songs there are no drums and no bass, on others it's just drums and a little guitar."

With a fall tour, Europe and Japan already under their belts since the release of Transatlanticism, Death Cab for Cutie has had plenty of time to figure out how to recreate the sound on the new album.

"Our soundman triggers some extra ambient noises," McGerr says. "I use a sampler and Ben has a couple of sampling pads. For the most part, we can play 10 of the 11 songs."

On Wednesday, Death Cab for Cutie met up with Ben Kweller for the first of their 30-plus co-headlining dates. After sharing a bill with Dismemberment Plan two years ago, McGerr says the foursome was looking to co-headline with someone else again.

"We didn't want to necessarily carry a tour all to ourselves; we had done that in the fall," McGerr says. "Ben Kweller and Death Cab for Cutie fans aren't that far apart and we really dug into his music. I have Sha Sha but I've never seen him live. Hopefully they will push us and we will push them."

And Death Cab for Cutie and Kweller are well aware of the fact that they'll be going head to head — vying for fans and trying to make the most noise — with The Darkness Friday night at The Rave, who will be playing just a floor above them.

Are they going to outfit themselves before heading into battle? Let's just say McGerr hints at several tricks up their sleeves, including hair extensions. If you want to know more, you'll just have to check it out for yourself.

Death Cab for Cutie will be co-headlining with Ben Kweller at The Rave Friday night. Tickets are $15.

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