Summer Cannibals, Campdogzz
Tue, February 5, 2019
Doors: 7:00 pm / Show: 8:00 pmCrescent Ballroom
$18.00 - $28.00
This event is 21 and over
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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.
It seemed only logical that when the band decided to sign to a label, they chose Kill Rock Stars, which has a long history of putting out fearless, female-led bands like Bikini Kill and Sleater-Kinney. Their most recent release, Full Of It, is the band’s defining statement to date. Recorded with producer Chris Woodhouse (Thee Oh Sees, Wild Flag), the LP is one of those massive leaps forward that every band hopes to achieve at least once in their career. Somehow Summer Cannibals keep doing it over and over again.
With the band’s line up solidified now by long time drummer Devon Shirley alongside the additions of rippers Cassi Blum on guitar and Ethan Butman on bass they are truly a force to be reckoned with. Stay tuned for album number four, it’s sure to be a revelation.