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17-Feb-2016 15:14

And I think it relates to the album’s title, because the songs represent such a breadth of my life, you know? They didn’t fit on Death Cab records, but I spent a lot of time with them over the years. Do you ever get used to strangers speculating on your life? To me, that’s the saddest part of the arc of his career.

And the hope is that when people put this record on, they’re thinking less about me and my life and more about themselves and how the songs fit into their lives. At that point, he was woefully alcoholic and just really a mess.

When we’re playing live, it’s not that I’m thinking about how I felt about things.

Don’t get me wrong — it’s not as if I don’t care now.

But these were situations I felt were so important, I had to write about them.

People see me walking through Shepherd’s Bush, like a lunatic, singing into my phone.

On “Hard One to Know,” you’ve got these sad lyrics set against a super-upbeat melody.

With his first solo record, , out this week (it's also the first music he's put out since the split), Gibbard spoke with Vulture about geography playing a role in his writing, singing into an i Phone, and avoiding gossip. Geography threads its way through this record: There are songs involving London, Paris, California, Australia, and Seattle. So, each verse is based on a different phase of their lives together.

The title reminds me of that Joan Didion line, “We are well advised to keep on nodding terms with the people we used to be.” That’s a really eloquent statement. I don’t read pop-culture sites, I don’t read gossip magazines, I don’t read this shit. Like with the first one, the Roaring Twenties are in New York, then they move to Paris, and then to Hollywood.

Because, you know, with my personal life in the last year or so, people are going to see what they want to see. He was out galavanting and out dating these younger movie stars, and it was sad. So, in that sense, a geographical location helps tell the story.

And I literally recorded “Shepherd’s Bush Lullaby” on my i Phone.

Death Cab for Cutie's Ben Gibbard is best known for his lush and poppy songs, distinct voice, and endearing nerdiness. I think placing songs in physical spaces that people see in their mind’s eye is a mechanism that I use often because it’s specific. ” [on the record’s opener “Shepherd’s Bush Lullaby”], that song is a musing about a friend of mine that I hadn’t seen in a long time, and he’s in London so, of course, I placed Duncan in London.

With his first solo record, , out this week (it's also the first music he's put out since the split), Gibbard spoke with Vulture about geography playing a role in his writing, singing into an i Phone, and avoiding gossip. Geography threads its way through this record: There are songs involving London, Paris, California, Australia, and Seattle. So, each verse is based on a different phase of their lives together.The title reminds me of that Joan Didion line, “We are well advised to keep on nodding terms with the people we used to be.” That’s a really eloquent statement. I don’t read pop-culture sites, I don’t read gossip magazines, I don’t read this shit. Like with the first one, the Roaring Twenties are in New York, then they move to Paris, and then to Hollywood.Because, you know, with my personal life in the last year or so, people are going to see what they want to see. He was out galavanting and out dating these younger movie stars, and it was sad. So, in that sense, a geographical location helps tell the story.And I literally recorded “Shepherd’s Bush Lullaby” on my i Phone.Death Cab for Cutie's Ben Gibbard is best known for his lush and poppy songs, distinct voice, and endearing nerdiness. I think placing songs in physical spaces that people see in their mind’s eye is a mechanism that I use often because it’s specific. ” [on the record’s opener “Shepherd’s Bush Lullaby”], that song is a musing about a friend of mine that I hadn’t seen in a long time, and he’s in London so, of course, I placed Duncan in London.He's also known for being married to, and now divorced from, Zooey Deschanel. With “Bigger Than Love” [a duet with Aimee Mann], that’s a back and forth between F. It’s based on a book of letters between them [Dearest Scott, Dear Zelda: The Love Letters of F. As I was reading it, I took notes about the things I liked.