Cursive
Burst And Bloom
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Cursive
Burst And Bloom
Saddle Creek, 2001
RiYL: Fugazi, Archers of Loaf, The Good Life, Jimmy Eat World |
In the genre of indie rock, few individuals are sincere or honest enough to nakedly reveal their own flirtation with the ugly world of marketing. But on "Sink to the Beat," Kasher and company create just that by piling simultaneously self-referential and self-deprecating lyrics like "I can see through these haunting themes / my moldy dreams are debased by the same hands that shaped them," atop Maginn and drummer Clint Schnase's infectious rhythm work.
While the songs penned by Kasher tend toward the angular and the brutal, guitarist Ted Stevens's (also of Lullaby for the Working Class) first songwriting effort for Cursive, entitled "Tell Tales, Telltales," is a dynamic and poetic affair. The drums and bass lay a solid foundation under which atmospheric guitar noodling and lush cello lines (a welcome addition to the Cursive sound from new band member Gretta Cohn) create a beautiful and complex backdrop for Stevens' warm and expansive vocals.
Like with other Cursive releases, Kasher's unique and serrated guitar work infuses the often dark arrangements with engaging and even catchy phrases. "Mothership, Mothership, Do You Read Me," closes with the guitar bursting into a thrashing hooky solo that mirrors the straining anger and desperation in Kasher's voice and finally gives way to twenty seconds of awesome instrumental rage.
On Burst And Bloom, Cursive's instrumental work has reached a new level of intensity that mirrors the rawness and honesty of the lyrical content. After grappling with the demon that is underground success, it seems that the Omaha quintet has recognized that the best way to persevere is by doing what they do best: creating intense, emotional and engaging music.
A.K. GOLD | A.K. Gold lives in Washington, D.C., where she slaves away for a non-profit organization and constantly compares everything to New York City or Chicago. She's earned her "cred" as a college radio and pre-1960 country music DJ, committed indie label street teamer, sporadic zinemaker/contributor, retired mail-order filler and occasional freelance writer. From time to time, she publishes Anecdotal Evidence, a per zine that will some day be considered for the National Book Award, or possibly not. If you want to buy a copy, or desire to write to her for some other reason, email criticgirl@hotmail.com.