CURSIVE
Happy Hollow
Saddle Creek
· Hollow-eyed complacency, put your dukes up.
Cursive front man Tim Kasher is ambitious as all hell. For this, Cursive's first record since 2003's The Ugly Organ, Kasher has not only dispensed with some of the hallmarks of past albums – the minor-key chord progressions, the mournful cello work of Gretta Cohn – in favour of recruiting a full brass section and embarking on their most upbeat journey yet. Oh, and he's picking fights with God.
Indeed, the whole album is dedicated to North American contradictions, superstitions, social conventions and social ills, particularly rampant, unthinking consumerism and an unquestioning devotion to the latest incarnation of Christianity. With each song written about a different character in the eponymous (and fictional) town, Happy Hollow's 14 tracks explore different facets of the neurosis and ennui that sets in despite having all of your material needs met.
Musically, the most intriguing tracks are the ones that feature the horn section, including opening pair "Opening the Hymnal/Babies" and "Dorothy at Forty." The latter is also a lyrical standout, sort of a Wizard of Oz riff on George Carlin's "A Place for My Stuff." All said, it really is the lyrics that are centre stage here; not to say that the music is subpar, as it's some of the best Cursive has recorded, but it's clear Kasher wants people to pay attention when he's telling a story, be it of a new face in the priesthood on "Bad Sects" or calling BS on God's "mysterious ways" on "Retreat!" (lovin' the punny titles).
The album drags at points when Kasher's metaphors are too baroque, as on "The Sunks." Nonetheless, Happy Hollow deserves high marks.
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