Cursive

Cursive

Control Top

Sun, October 20, 2019

Doors: 7:30 pm / Show: 8:00 pm

First Unitarian Church

Philadelphia, PA

$20.00

This event is all ages

Facebook comments:

Cursive
Cursive
Over the past two decades, Cursive has become known for writing smart, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific, oftentimes challenging themes, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art, sex, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length, Vitriola, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society, much like a writer, creates and destroys; and an oncoming dystopia that feels eerily near at hand.

Cursive has naturally developed a pattern of releasing new music every three years, creating records not out of obligation, but need, with the mindset that each record could potentially be their last. 2015 came and went, however, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records, a movie (the Kasher-penned and directed No Resolution), and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue, O’Leaver’s). The band even launched their own label, 15 Passenger, through which they’re steadily reissuing their remastered back catalogue, as well as new albums by Kasher, Campdogzz, and David Bazan and Sean Lane. And like many others, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country, and seems to grow more chaotic with each passing day.

Which brings us to 2018 and Vitriola. For the first time since Happy Hollow, the album reunites Kasher, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase, as well as co-producer Mike Mogis (Bright Eyes, M. Ward, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich, resonant melodicism, Hitchcockian anxiety, and explosive catharsis — and no Cursive album would be complete without scream-along melodies and lyrics that, upon reflection, make for unlikely anthems.

There’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger at not only modern society and the universe at large, but also inward towards ourselves. On “Under the Rainbow,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin.

Vitriola raises a stark question: is this it? Is everything simply broken, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration, and the album is deeply relatable: Cursive may not be offering the answers, but there is hope in knowing you’re not alone in the chaos.
Control Top
Control Top
Covert contracts rule our world: manipulative relationships, encoded social norms, opaque technologies. “With a covert contract, the trick is that the agreement is only known by the person who makes it,” says Ali Carter, singer and bassist of Philly post-punk trio Control Top. “The other person is oblivious. Consent is impossible. A void of communication opens up a world of misunderstanding.”

In an era of such impossibilities, Control Top—Carter with guitarist Al Creedon and drummer Alex Lichtenauer—rip open space for catharsis. Their explosive songs are a synthesis of varied interests and backgrounds: Carter’s innate sense of new wave melodies, Creedon’s sirening noise guitars, Lichtenauer’s feverish hardcore drumming.

On their debut full-length Covert Contracts, the songwriting is fully a collaboration of Carter and Creedon. Carter’s voice thumps and screams and deadpans while her driving, hooky basslines play out like guitar leads. Creedon, also the band’s engineer and producer, balances composition and chaos, equally inspired by pop and no-wave.

With her lyrics, Carter responds to feeling trapped and overwhelmed in a capitalist patriarchy, offering indictments of wrongdoing and abuse of power, odes to empathy and ego death, as well as declarations of self-determination.

These songs hit even harder when you consider how close this band came to not existing at all. Despite being involved in underground music communities for years, Carter didn’t start Control Top (her first band) until age 25. Disillusioned by punk, Creedon had all but abandoned guitar. But Control Top felt exciting, a chance to experiment: to rethink the relationship between guitar and bass and use samplers to add new dimensions. Meanwhile, Lichtenauer had quit playing drums after an abusive situation in a previous band that had ruined playing music for them, and joining Control Top was an opportunity for rebirth.

At once anthemic and chilling, Covert Contracts puts words to today’s unspoken anxieties. Brimming with post-punk poetry for 2019, it’s the sound of agency being reclaimed.
Venue Information:
First Unitarian Church
2125 Chestnut Street
Philadelphia, PA, 19103
http://www.philauu.org/