Album Review: Benjamin Gibbard - Former Lives

It seems to have been a long time coming, but finally Benjamin Gibbard has compiled an entire album's worth of his solo, original material. Yes, there was 2003's split LP with Andrew Kenny, but Former Lives is all Gibbard. Beginning with the iPhone-recorded a cappella opener Shepherd's Bush Lullaby, this is an album that on so many levels reminds the listener of Gibbard's other incarnations (a number of songs have certainly been pilfered from Death Cab For Cutie's cutting-room floor), yet never seems to repeat any of his previous releases.

These days, Benjamin Gibbard is a near-household name. The Postal Service only released one album ten years ago (see: reformations, Coachella 2013), but it was a belter and one that is still as relevant as it was when released. Since then, Death Cab has gone from strength to strength, dropping huge albums like 2006's Plans and 2011's Codes and Keys. Former Lives, however, is a completely Gibbard affair. Aside from a couple of tracks he plays every instrument on every song, and proves as able with a drum kit as he is with a pen and pad. Guest vocalist Aimee Mann accompanies him on the beautiful duet Bigger Than Love, and Trio Ellas – an all-female mariachi group who have worked with folks like Mariachi El Bronx and Lady Gaga – add a new dimension on Something's Rattling (Cowpoke).

Drifting from alt-country (Broken Yolk in Western Sky) to tender pop ballad (Lily), Former Lives is a varied record, but one that has clearly proven to be a passion project for Gibbard. And while we wait patiently for new Death Cab and Postal Service records and shows, Former Lives is a fine way to pine away the time.