"Soul Meets Body" is a song recorded by the American rock band Death Cab for Cutie for their fifth studio album Plans (2005).

Death Cab for Cutie emerged from the Pacific Northwest in the early aughts and built a following with its confessional lyricism and straightforward indie rock sound.

[10] Gibbard picked Watts, a relative outsider, to helm the clip as he appreciated that his treatment was not simply a literal reading of the song's prose: "It's hard to pick videos, because when I write lyrics I try to make them as descriptive as possible, and I find it hard to find a treatment that's not just mimicking what's happening in the song [...] Plus this one was a little weird," he said.

[5] "Soul Meets Body" became one of the band's biggest singles on radio,[20] with its popularity boosting sales of its parent album significantly.

Rob Sheffield at Rolling Stone considered a high point on Plans, complimenting its "R.E.M.-style jangle, sped up to electro-disco tempo.

"[31] James Rettig of Stereogum interpreted the song's lyrics as more bleak than romantic, noting that "Gibbard's describing the joining of body and mind, but he’s making it clear that there’s only emptiness in between the two.

"[32] Nick Sylvester at The Village Voice criticized the band's risk-taking, but nonetheless felt the single was "expertly produced and succinctly written.

"[33] Marc Vera at Entertainment Weekly called it an "indie-pop gem,"[34] while Rodrigo Perez at MTV interpreted it as "grappl[ing] with existential questions and reconciling personal needs.

[38] Drowned in Sound writer, Mike Diver, stated that "Soul Meets Body" has "tender, lovelorn lyrics that anyone over the age of ten can relate to coupled with the kind of shimmering indie-pop that a thousand imitators have failed to fully master [...] It says both everything to the listener and a whole lot of nothing at all, its perception entirely dependent on the type of ear bending its way."

Diver finished the review by describing the song as being "sourced from a central vein yielding little else of value", an element that "leaves a bitter aftertaste that lingers long after the sound of silence settles.

"[39] Gibbard later reimagined the song, with the help of Brett Nelson from Built to Spill, in an electronic-infused iteration for The Electronic Anthology Project (2013).