Additional personnel: Jen Wood (vocals); Chris Walls (piano); Jenny Lewis (background vocals).

Personnel: Christopher Walla (vocals, guitar, piano, drums); Jen Wood (vocals, background vocals); Jimmy Tamborello (accordion, keyboards, programming); Jenny Lewis (background vocals).

Audio Mixer: The Postal Service.

Recording information: Hall Of Justice/Dying Songs, Los Angeles/Computerworld, (2002).

Coming off their work on Dntel's beautiful This Is the Dream of Evan and Chan, Jimmy Tamborello and Death Cab for Cutie's Ben Gibbard team up again for their full-length debut as Postal Service, Give Up. Instead of covering that EP's territory again, with this album the duo crafts a poppier, new wave-inflected sound that recalls Tamborello's work with Figurine more than Dntel's lovely subtlety. However, Ben Gibbard's famously bittersweet vocals and sharp, sensitive lyrics imbue Give Up with more emotional heft than you might expect from a synth pop album, especially one by a side project from musicians as busy as Tamborello and Gibbard are. The album exploits the contrast between the cool, clean synths and Gibbard's all-too-human voice to poignant and playful effect, particularly on Give Up's first two tracks. "The District Sleeps Alone" bears Gibbard's trademark songwriting, augmented by glitchy electronics and sliced-and-diced strings, while "Such Great Heights"' pretty pop could easily appear on a Death Cab for Cutie album, minus a synth or two. Despite some nods to more contemporary electronic pop, Give Up's sound is based in classic new wave and synth pop, at times resembling an indie version of New Order or the Pet Shop Boys. Songs like "Nothing Better," a duet that plays like an update on Human League's "Don't You Want Me?," and the video-game brightness of "Brand New Colony" sound overtly like the '80s brought into the present, but the tinny, preset synth and drum sounds on the entire album recall that decade. Sometimes, as on "Recycled Air" and "We Will Become Silhouettes," the retro sounds become distracting, but for the most part they add to the album's playful charm. The spooky ballad "This Place Is a Prison" is perhaps the most modern-sounding track and the closest in sound and spirit to Gibbard and Tamborello's Dntel work. The crunchy, distorted beats and sparkling synths recall both This Is the Dream of Evan and Chan and Björk's recent work; indeed, this song, along with the "All Is Full of Love" cover Death Cab included on their Stability EP, could be seen as an ongoing tribute to her. Overall, Give Up is a fun diversion for Tamborello, Gibbard, and their fans. It doesn't scale the heights of either of their main projects, but it's far more consistent and enjoyable than might be expected. ~ Heather Phares

A side project from Death Cab For Cutie frontman Ben Gibbard and Jimmy Tamborello, who formerly played with synth-poppers Figurine but now records as Dntel, the Postal Service creates bedroom electronica with surprising emotional pull on GIVE UP. Ten tracks lyrically convey both a youthful ennui and the nostalgic ache of longing. Tamborello creates a tense sonic space that allows Gibbard's spare yet careful guitar to occasionally chime in and cut the tension.

While Tamborello's sculpted electronics hearken back to the minimalism of early Depeche Mode, Gibbard's expressively fey vocals and emotional sentiments lend a warm, comforting contrast to the machine-age chilliness (as do the occasional backing vocals from Jen Wood and Rilo Kiley's Jenny Lewis). This contrast is best illustrated on "We Will Become Silhouettes," when Gibbard sings "[A]nd we become silhouettes when our bodies finally go," only to be followed by a string of optimistic bleeps that are the sonic equivalent of a miniature sky full of twinkling stars.