{"id":2695,"date":"2017-03-22T12:15:16","date_gmt":"2017-03-22T12:15:16","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/playlist-art-is-not-hard-15-classic-tim-kasher\/"},"modified":"2018-03-21T22:15:53","modified_gmt":"2018-03-21T22:15:53","slug":"playlist-art-is-not-hard-15-classic-tim-kasher","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/playlist-art-is-not-hard-15-classic-tim-kasher\/","title":{"rendered":"Playlist: Art is Not Hard – 15 Classic Tim Kasher Songs"},"content":{"rendered":"

\"\"<\/figure>\n<\/p>\n

Tim Kasher<\/b> has been a mainstay of the Omaha scene for nearly 25 years, heading up caustic indie-rockers Cursive<\/b> and the more literal The Good Life<\/b>, as well as collaborating with everyone from Bright Eyes<\/b>, Planes Mistaken For Stars<\/b> and Thursday<\/b>.<\/p>\n

He\u2019s also a solo artist of some repute and, having just released the excellent \u2018No Resolution\u2019<\/i> \u2013 his third solo outing \u2013 Already Heard<\/b> decided to take a journey through his extensive back catalogue to pull together a rundown of 15 essential Kasher<\/b> classics (after all, the new Cursive<\/b>-run record label is called 15 Passenger<\/b>\u2026), as well as an all-killer playlist for your listening pleasure. <\/p>\n

Please note, due to Kasher\u2019s unbelievable work ethic, we\u2019ve left off the big hits; if you don\u2019t know the likes of \u2018The Martyr\u2019<\/i>, \u2018Art is Hard\u2019<\/i>, \u2018Album of the Year\u2019<\/i> and \u2018Big Bang\u2019<\/i>, you should rectify that immediately. You will, however, find them on the playlist\u2026<\/p>\n

\n
Follow us on Spotify for more playlists<\/a>.<\/p>\n

Cursive – \u2018Adapt\u2019 (taken from \u2018The Recluse\u2019<\/i> B-side)<\/h2>\n

If you want proof that Cursive<\/b> were truly inspired during the making of \u2018The Ugly Organ\u2019<\/i>, look no further than the haunting \u2018Adapt\u2019<\/i>. Originally a B-side to \u2018The Recluse\u2019<\/i>, it\u2019s a sombre moment that finally found a home on the extended issue of \u2018The Ugly Organ\u2019<\/i>. It still sounds out of place against the more frenetic moments of the album \u2013 but it shows Cursive<\/b> at their moody best.\n<\/p>\n

Tim Kasher – \u2018American Lit\u2019 (taken from \u2018Adult Film\u2019<\/i>)<\/h2>\n

OK, so ‘American Lit’<\/i> does not make this list for the bizarre opening 20 seconds, but it makes it for the wonderfully brilliant off-kilter pop that follows. \u201cI\u2019ve got a story to tell,\u201d<\/i> opens Kasher<\/b>, making a tip of the hat to his raconteur persona. Riffing off the creative process \u2013 this time making film scripts and taking ideas to the silver screen \u2013 it\u2019s a knowing nod to the trials and tribulations experienced during the making of The Good Life<\/b>\u2019s \u2018Help Wanted Nights\u2019<\/i>.<\/p>\n

<\/p>\n

The Good Life – \u2018Entertainer\u2019 (taken from \u2018Lovers Need Lawyers\u2019)<\/i><\/h2>\n

\u201cI\u2019m not an artist, I\u2019m an asshole without a job,\u201d<\/i> quips Kasher<\/b> on \u2018Entertainer\u2019<\/i>. The issue of art and its creation is a topic Kasher<\/b> comes back to frequently, with the equally excellent \u2018Semantics of Sermon\u2019<\/i> and \u2018Art Is Hard\u2019<\/i> both elaborating on this theme, yet \u2018Entertainer\u2019<\/i> feels like Kasher<\/b> is playing up to the idea, tongue firmly planted in cheek. That it appears on The Good Life<\/b>\u2019s \u2018Lover\u2019s Need Lawyers\u2019<\/i> just emphasises the blurring of the boundaries between Kasher<\/b>\u2019s acts.<\/p>\n

Tim Kasher – \u2018Half Full\u2019 (taken from \u2019You Be Me For A While’<\/i>)<\/h2>\n

Taken from a Record Store Day split single with Chris Farren<\/b>, which saw Kasher<\/b> and Farren<\/b> write one song each, before recording their own version of each other\u2019s songs. Kasher<\/b>\u2019s \u2018Half Full\u2019<\/i> is a gorgeously sparse number that includes a clever call back to \u2018A Gentleman Caller\u2019<\/i> off the \u2018The Ugly Organ\u2019<\/i>.<\/p>\n

Cursive – \u2018Hymns For The Heathen\u2019 (taken from \u2018Happy Hollow\u2019<\/i>)<\/h2>\n

One thing Cursive<\/b> have always done well is the self-referential tying of loose ends. \u2018Hymns for the Heathen\u2019<\/i> harks back to \u2018Opening The Hymnal\u2019<\/i>, the opening track of \u2018Happy Hollow\u2019<\/i>. That it subverts proceedings by using a jaunty and infectious melody, set to some sharp Biblical imagery makes it a typically winning example of Kasher<\/b>\u2019s razor sharp song-writing.<\/p>\n

Tim Kasher – \u2018I\u2019m Afraid I\u2019m Gonna Die Here\u2019 (taken from \u2019The Game of Monogamy\u2019<\/i>)<\/h2>\n

Considering his reputation as a prolific songwriter, Kasher<\/b> wouldn\u2019t release his first solo album until 2010, finally sticking his own name to the excellent \u2018The Game of Monogamy\u2019<\/i>. Arguably one of Kasher<\/b>\u2019s most upbeat songs musically, \u2018I\u2019m Afraid I\u2019m Gonna Die Here\u2019<\/i> is a charming number, armed with a fabulous horn section that carries the song along wonderfully, before an abrupt change of pace when Kasher<\/b> muses on the idea of love.<\/p>\n

Tim Kasher – \u2018Messes\u2019 (taken from \u2019No Resolution\u2019<\/i>)<\/h2>\n

Lifted off Kasher<\/b>\u2019s latest solo album, \u2018Messes\u2019<\/i> is another galloping Kasher<\/b> classic, filled with a rich string section, some sharp horns and a feisty tempo. Another concept album, of sorts, it\u2019s hard to tell if Kasher<\/b> is narrating a story or revealing some deeper thoughts from his psyche. It\u2019s this tightrope which Kasher<\/b> walks throughout \u2018No Resolution\u2019<\/i> that makes it such an enjoyable \u2013 and insightful \u2013 album.<\/p>\n

The Good Life – \u2018Off the Beaten Path\u2019 (taken from \u2018Black Out\u2019<\/i>)<\/h2>\n

\u201cTim, I heard your album and it\u2019s better than good\u201d<\/i>, muses Conor Oberst<\/b> on Bright Eyes\u2019<\/b> on \u2018Nothing Gets Crossed Out\u2019<\/i> (off 2002\u2019s \u2018Lifted\u2019<\/i>), and he\u2019s referring to \u2018Black Out\u2019<\/i>. \u2018Off the Beaten Path\u2019<\/i> is a companion piece to \u2018The Beaten Path\u2019<\/i> and is surely one of the most epic songs in Kasher<\/b>\u2019s canon. From the introduction that just builds to the point of breaking, to Kasher<\/b>\u2019s introspective, almost stream of consciousness lyrics it\u2019s an early high point for The Good Life<\/b>.<\/p>\n

Cursive – \u2018Sucker and Dry\u2019 (taken from ‘Sucker and Dry’<\/i>)<\/h2>\n

Nowadays, it\u2019s hard to imagine \u2018Sucker and Dry\u2019<\/i> could have ever been penned by Cursive<\/b>. Lacking the finesse of the group\u2019s later output, it\u2019s raw and serrated indie-punk\/post-hardcore that has more in common with the likes of WaxWing<\/b> or Knapsack<\/b> than it does with the archetype Saddle Creek<\/b> sound. Unsurprisingly, it predates Cursive<\/b>\u2019s time on both Saddle Creek<\/b> and Crank!<\/b> \u2013 yet it remains a pulsating early cut from the embryonic band.<\/p>\n

Cursive – \u2018The Cat and Mouse\u2019 (taken from \u2018I Am Gemini\u2019<\/i>)<\/h2>\n

Falling on the ambitious \u2018I Am Gemini\u2019<\/i>, \u2018The Cat and Mouse\u2019<\/i> is Kasher<\/b> at his storytelling, freewheeling, best. While the concept of \u2018I Am Gemini\u2019<\/i> makes it difficult for songs to stand out on their own, \u2018The Cat and Mouse\u2019<\/i> is a huge amount of fun, driven by Kasher<\/b> urging the protagonist to \u201ckill your doppelganger\u201d<\/i>. For that alone, \u2018The Cat and Mouse\u2019<\/i> deserves your attention.<\/p>\n

The Good Life – \u2018The Competition\u2019 (taken from \u2018Novena on a Nocturn\u2019<\/i>)<\/h2>\n

Before The Good Life<\/b> became the full band project it is today, it started as a solo project \u2013 again blurring the lines between the various Kasher<\/b> vehicles. \u2018The Competition\u2019<\/i> is a surprisingly stripped-back solo number, with Kasher<\/b>\u2019s roughhewn vocals coming to the fore. Released in 2000 \u2013 the same year as \u2018Domestica\u2019<\/i> \u2013 it serves as an introspective counterpoint to its histrionic cousin.<\/p>\n

Cursive – \u2018The Great Decay\u2019 (taken from \u2018Burst and Bloom\u2019<\/i>)<\/h2>\n

Falling between Cursive<\/b>\u2019s two landmark albums, \u2018Burst and Bloom\u2019<\/i> serves as the bridge between the bleakly dark \u2018Domestica\u2019<\/i> (2000) and the explosive \u2018The Ugly Organ\u2019<\/i>. Lyrically, \u2018The Great Decay\u2019<\/i> sticks closely to the former, yet possesses the wild-eyed hunger of the latter \u2013 and it\u2019s stupendously brilliant.<\/p>\n

Cursive – \u2018The Radiator Hums\u2019 (taken from \u2018Domestica\u2019<\/i>)<\/h2>\n

Taken from \u2018Domestica\u2019<\/i>, Cursive<\/b>\u2019s first foray into the \u2018concept\u2019<\/i> album, \u2018The Radiator Hums\u2019<\/i> sees Kasher<\/b> writing from the female viewpoint, an issue oft-overlooked when dissecting the heavy emotional themes of \u2018Domestica\u2019<\/i>. One of only a handful of songs on this list that could be described as adhering to the \u2018classic\u2019 Cursive<\/b> sound, if you like this, you have a whole world of wonder in store\u2026 <\/p>\n

Cursive – \u2018When Summer\u2019s Over Will We Dream of Spring\u2019 (taken from \u2019Storms of Early Summer: Semantics of Song\u2019<\/i>)<\/h2>\n

Another early Cursive<\/b> cut, this time off 1998\u2019s \u2018Storms of Early Summer: Semantics of Song\u2019<\/i>, the group\u2019s full-length Saddle Creek<\/b> debut. It possesses all of the hallmarks that would go on to mark Cursive<\/b> out as scene favourites. The stabbing guitars and regimented drums pulsate, but it is Kasher<\/b>\u2019s gnawing wail that truly grabs the attention.<\/p>\n

The Good Life – \u2018You Don\u2019t Feel Like Home To Me\u2019 (taken from \u2018Help Wanted Nights\u2019<\/i>)<\/h2>\n

In classic Cursive<\/b> fashion, remember when we said at the start of this article about the trials and tribulations of \u2018Help Wanted Nights\u2019<\/i>, but then left you hanging? Here\u2019s the payoff. \u2018Help Wanted Nights\u2019<\/i> is a companion piece to a Kasher<\/b>-penned script that was sold to an indie production house before disappearing from trace. Anyway, \u2018You Don\u2019t Feel Like Home To Me\u2019<\/i> is the standout; a sad sorrowful guitar line complements a rolling drumbeat and Kasher\u2019s descriptive vocals in beautiful scene-setting fashion.<\/p>\n

‘No Resolution’<\/i> by Tim Kasher<\/b> is available now on 15 Passenger Records<\/b>.<\/p>\n

Tim Kasher<\/b> tours the UK from March 24th:<\/p>\n

March
\n 24 The Shacklewell Arms, London
\n 25 The Boileroom, Guildford
\n 26 Think Tank Underground, Newcastle
\n 27 King Tut’s, Glasgow
\n 28 The Brudenell, Leeds
\n 29 Studio 2, Liverpool
\n 30 The Portland Arms, Cambridge
\n 31 Hope & Ruin, Brighton<\/p>\n

Words by Rob Mair (@BobNightMair<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"

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