Author: nathan altice
Oh my. I feel like I'm witnessing a personal catharsis / psychotherapy session with this album. The press release oddly includes a mention of lead singer / songwriter Tim Kasher's divorce (!), which has most certainly had an affect on the themes of this album. Domestica basically reads as the handbook to a middle-class domestic war, carrying the listener along at each step of the way. I really shouldn't overanalyze the lyrics though. Just trust me that they're good, yet eerily disturbing. (I mean, the end of a marriage isn't exactly the merriest of topics.) As far as the music goes...there's not the same level of progression apparent from Such Blinding Stars... to the phenomenally underrated Storms of Early Summer, but that's an admittedly tough task. From the opening power chords of "The Casualty" that bleed effortlessly into the forceful dissonance (a Cursive trademark) of "The Martyr," to the Fugazi-influenced "Shallow Means, Deep Ends," Cursive never hesitate to hit you upside the head with full-force guitar rock. There are other production subtleties, however, not present on their previous full-length efforts - drum effects, electronics, vocal trickery - but put to full effect here. There's also the addition of Ted Stevens (singer / guitarist of label mates, Lullaby for the Working Class), whose unique vocals I really like, although they aren't used extensively on this album. I thought a new face in the band would affect Cursive's sound in some way, but it really hasn't. Cursive still rocks me in new and interesting ways. Songs like "The Lament of Pretty Baby," with it's propulsive bass lines, whisper-to-scream vocals, and distorted harmonics, remind me why this is one of my favorite bands.
Plus: we need more good bands to decide not to break up
Minus: Cursive is severely under-appreciated