Cursive

Cursive shared their jagged, yet poppy new single “Imposturing,” the third from their forthcoming new album Devourer, out September 13, 2024, via Run For Cover Records. The song–which features a soaring, woozy synth line by the band’s Patrick Newbery–arrives alongside a campy, gory video directed by singer/guitarist Tim Kasher. “The overall conceit of ‘Imposturing’ is, ‘make it up as you go along,’ so I concocted a story of a monster seemingly made up from the insecurities of this main singer guy (me). Once fully formed, the monster goes on a rampage,” he explains. “We shot the video over a few days in Omaha, NE, in and around O’Leaver’s and The Admiral. Our practical effects were the product of various DIY Youtube tutorials.”The clip is the latest installment of Cursive’s horror-themed videos created around the album by genre directors, following lead single “Up and Away,” by Brea Grant (12 Hour Shift, Torn Hearts), and “Botch Job,” from Travis Stevens (A Wounded Fawn, Jakob’s Wife, Girl On The Third Floor). The singles have been earning the band attention from Stereogum (about “Up and Away:” “It’s got a great, beefy bassline, and that classic noisy-yet-melodic sound Cursive have perfected”), Brooklyn Vegan, The Hard Times, Under The Radar, and many more. Devourer is now available for preorder. Following a September 20^th performance at Riot Fest, Cursive will embark on a fall U.S. tour in support of Devourer beginning October 18^th in hometown Omaha, NE. The band also today announced a November 13th London show at Camden Assembly.

In the years since their 1995 formation, Cursive developed into one of the most important groups to emerge from the late-’90s/early ‘00s moment when the lines between indie rock and post-hardcore began blurring into something altogether new. Albums like Domestica (2000) and The Ugly Organ (2003) became essential touchstones whose echoes can still be heard in new bands today. The pull of nostalgia can be strong over time, but Cursive’s work has often felt like a rejection of those comfort zones; the band has continually pushed themselves, with Kasher’s artistic restlessness steering them ahead. In fact, for Kasher, whose pointed observations always begin with looking inward first, it was an interrogation of this voracious creativity that planted the seeds of Devourer.  “I am obsessive about consuming the arts,” he explains. “Music, film, literature. I’ve come to recognize that I devour all of these art forms then, in turn, create my own versions of these things and spew them out onto the world. It’s positive; you’re part of an ecosystem. But I quickly recognized that the term, ‘Devourer,’ may also embody something gnarly, sinister.” Devourer delves into that darker space. The characters populating the album have bottomless capacities for consumption, whether it’s resources, material goods, art, or even each other. Then they are consumed by larger forces, whether it’s humanity, Earth, dreams, time, or life itself. Fans have come to expect such heady topics from Cursive, but Devourer sets a new standard. The glibness of the First World toward the problems of others.