Cursive release loaded with catchy melodies

By Joey Vergara

Published Aug. 25, 2006

If the creation of amazing music somehow requires a band to call it quits, Cursive has perfected the formula.

After a lengthy touring circuit following the release of the widely praised The Ugly Organ, Cursive mastermind Tim Kasher declared the band dead for the second time in the band's history. Fortunately, time heals old wounds in the world of Cursive.

The release of Happy Hollow marks a transitory period in Cursive's lifetime. The band's old tricks, such as creative interplay between guitarists Kasher and Ted Stevens, chugging rhythms care of drummer Clint Schnase and bassist Matt Maginn remain intact, but it is an album of clear development and ingenious experimentation.

While 2000's Domestica chronicled Kasher's failed marriage, Happy Hollow finds Kasher dealing with new problems — the hypocrisy of organized religion and small-town politics. As loaded as the words "concept album" might be these days, Happy Hollow is just that.

Behind stories of the citizens of Happy Hollow lie Kasher's thoughts on topics such as illicit sex involving priests ("What happens in confession/ stays in the confessional") and the origin of life ("Big Bang").

Kasher's lyrics shine as one of the high points of the album. Always a master of wordplay, each song is marked by intelligent, but never excessive, symbolism and Biblical references that vividly illuminate the overall theme of the album.

Happy Hollow starts out powerfully with the bouncy rhythm of "Opening the Hymnal/Babies." The song fades away to church bells and fuzz at midpoint before shifting gears to the brooding half "Babies."

Unified by a common idea, Happy Hollow ventures into many directions and styles. "Dorothy at Forty," the album's first single, builds off of a quick progression and intricate guitar work to a final explosive ending, similar to "Sink to the Beat" from the band's EP, Burst & Bloom. "Into the Fold," meanwhile, features a slower pace and a choir of whispered vocals.

Though a horn section was found on Cursive records, on this outing it is more prevalent and perfectly executed. Trumpets and trombones contribute to the dirty sound of the album, like on the sleazy "Bad Science." At the same time, Kasher keeps his voice in check, unlike previous efforts in which uncontrolled screams backed climaxes in songs such as "Some Red Handed Slight of Hand" from The Ugly Organ.

Happy Hollow ends where it begins on "Hymns for the Heathen," the complete version of the first half of the opening track. The best track is thus saved for last and summarizes the entire album in Kasher's characteristically flamboyant style. "Hymns" starts, stutters and clashes with all sorts of rhythms, while featuring the best production work found on the album and the catchiest melody this side of Mr. Timberlake.

Never a band to become committed to a particular sound other than its own brand of indie rock, Cursive has created a cohesive work of art with more depth and layers than most modern music in the form of 14 introspective hymns for all fans — heathens or not — to enjoy.