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| [Tim Kasher w/ Darren Hanlon & Conduits] [Thursday, 8 p.m.] [Bourbon Theatre, Lincoln] [$10 in advance, $12 at the door] Get free downloads of "Cold Love" and "I'm Afraid I'm Gonna Die Here" at www.timkasher.com. |
You know Tim Kasher as a renowned Omaha musician and leading man of Cursive and The Good Life.
But with his new solo release "The Game of Monogomy," you can get to know Kasher and his thoughts on marriage, namely the dead weight of having a spouse and not being able to sleep around anymore.
After touring up north for the first time in 2009 with Cursive in states like Montana and the Dakotas, Kasher was inspired to record the album at the SnowGhost Music studio in Whitefish, Mont., by Glacier Park this past January.
The album features pop-leaning tunes like "Cold Love" and "I'm Afraid I'm Gonna Die Here" as well as measures of orchestration with the help of the Glacier National Symphony — Kasher's attempt at an ode for his love of pop, rock ‘n' roll and dabbling in what hasn't yet been dabbled in.
I was able to talk with Kasher about his new album, which he's currently on tour promoting. You can catch Kasher on Thursday at 8 p.m. at the Bourbon Theatre.
How long was this solo project in the making?
Just the same as any record I've done, about like a year and a half of writing and then four months or so recording, post-production stuff.
When did the conception of it first come about?
It's kind of the same answer, but I could say that. I mean, I'd always planned on, ever since I started writing and doing rock bands, I thought I'd just eventually get to an age where I'd start doing it under my own name.
I considered doing that about 10 years ago when I started The Good Life but decided to do it under The Good Life instead.
Why did you choose to record up in Montana?
Just as a kind of an adventure, I think. I just kind of enjoy moving around and exploring — exploring new towns and new areas and kinda taking it in. So I was living up there for a little while, and there was a friend of mine that told me about the studio up there, and we had a really good time. So I suppose that's a good enough reason.
How did that atmosphere play into the recording process?
I'm not really sure how much location plays into what I write and into the recording process. It did lend itself for situations like working with the Glacier Symphony. I mean, I certainly only did that because we were up in that area. And I worked with some different musicians as a result of working in a different environment.
Part of your recordings were done outside the studio in your rental home. What parts of the album were recorded there?
Quite a bit of it. You know, I did all the vocals and guitars and bass and, oboe, flute. I recorded a lot of the main instruments like drums and some bass and the keys and the strings. I did all that at the studio and the rest of it at the house.
Tracks on the album feature some orchestral sounds. Why was it important to go that direction opening and closing the album as well as in other songs, like with the brass parts on "I'm Afraid I'm Gonna Die Here" and strings on "There Must Be Something I've Lost"?
It's just an interest in kind of using those, exploring, kind of, the different instrumentation. I've really enjoyed over the years just kind of branching out of — I really love, you know, pop music and rock ‘n' roll, so I think there's a lot of that on there as well. But it's kind of nice to branch out and work with different forms of orchestration.
How did the making of this album enforce your thoughts on marriage or relationships, themes seen throughout the album?
I don't know if I learn a ton from what I write. I mean, I haven't really changed any opinions or anything like that. I also wouldn't suggest that the content of the album is really set in stone for however I feel about relationships. It's really just more of a deconstructing some of the concepts of relationships in society and kind of playing around with some of the ideas.
Would you say you were more focused on lyrics over music, vice versa, or were both aspects equally considered?
I mean, I try to balance them equally. I recognize that sometimes it gets a little lopsided with kind of maybe a little more focus on lyrics, but yeah I try to keep it balanced. I'll often remind myself that, "you're writing music, you're not writing a book," you know. So it's really incredibly important that I like the music, and yeah, the music is really the fun part to work on.
Was there ever the prospect of not releasing the album with Saddle Creek?
Yeah, I mean, just as a part of discussing the business side, I mean, fuck yeah, we're open to whatever. I'm not, like, contractually obligated to Saddle Creek. But I'm glad to have them around.
How does Omaha feel to you whenever you come back? Is it different than what it was to you before?
It looks a lot different. I mean, the faces have changed a ton from the way I recall it 20 years ago. But it still feels almost too much the same to me. But I think that's just my own memories kind of haunting all the streets and locales.
Do you ever give a good listen to old Cursive and Good Life albums?
I tell myself I should just to keep up, to remind myself, you know, what kind of production we were doing and what kind of ideas were being used. But I rarely do. I always get really fidgety, and I'll feel like there certainly must be something better I could be doing with my time.
The album features musicians from Cursive as well as Minus the Bear. Did you enlist those people for your touring band, or what does your touring band consist of?
Well, Patrick Newbery who helped on the record and who has been playing with Cursive the last couple years, he is out with us right now. He plays trumpet and keys. And then we have a guy from Chicago, Dylan Ryan, who is the drummer. And we have Lewis Patzner, who plays cello and bass from San Francisco. And those guys, they were not on the album, they're just live musicians.
How did you meet up with those musicians or decide to tour with them?
I mean, it's just kind of getting to know a lot of musicians over the years, just traveling around, recommended players.
But with his new solo release "The Game of Monogomy," you can get to know Kasher and his thoughts on marriage, namely the dead weight of having a spouse and not being able to sleep around anymore.
After touring up north for the first time in 2009 with Cursive in states like Montana and the Dakotas, Kasher was inspired to record the album at the SnowGhost Music studio in Whitefish, Mont., by Glacier Park this past January.
The album features pop-leaning tunes like "Cold Love" and "I'm Afraid I'm Gonna Die Here" as well as measures of orchestration with the help of the Glacier National Symphony — Kasher's attempt at an ode for his love of pop, rock ‘n' roll and dabbling in what hasn't yet been dabbled in.
I was able to talk with Kasher about his new album, which he's currently on tour promoting. You can catch Kasher on Thursday at 8 p.m. at the Bourbon Theatre.
How long was this solo project in the making?
Just the same as any record I've done, about like a year and a half of writing and then four months or so recording, post-production stuff.
When did the conception of it first come about?
It's kind of the same answer, but I could say that. I mean, I'd always planned on, ever since I started writing and doing rock bands, I thought I'd just eventually get to an age where I'd start doing it under my own name.
I considered doing that about 10 years ago when I started The Good Life but decided to do it under The Good Life instead.
Why did you choose to record up in Montana?
Just as a kind of an adventure, I think. I just kind of enjoy moving around and exploring — exploring new towns and new areas and kinda taking it in. So I was living up there for a little while, and there was a friend of mine that told me about the studio up there, and we had a really good time. So I suppose that's a good enough reason.
How did that atmosphere play into the recording process?
I'm not really sure how much location plays into what I write and into the recording process. It did lend itself for situations like working with the Glacier Symphony. I mean, I certainly only did that because we were up in that area. And I worked with some different musicians as a result of working in a different environment.
Part of your recordings were done outside the studio in your rental home. What parts of the album were recorded there?
Quite a bit of it. You know, I did all the vocals and guitars and bass and, oboe, flute. I recorded a lot of the main instruments like drums and some bass and the keys and the strings. I did all that at the studio and the rest of it at the house.
Tracks on the album feature some orchestral sounds. Why was it important to go that direction opening and closing the album as well as in other songs, like with the brass parts on "I'm Afraid I'm Gonna Die Here" and strings on "There Must Be Something I've Lost"?
It's just an interest in kind of using those, exploring, kind of, the different instrumentation. I've really enjoyed over the years just kind of branching out of — I really love, you know, pop music and rock ‘n' roll, so I think there's a lot of that on there as well. But it's kind of nice to branch out and work with different forms of orchestration.
How did the making of this album enforce your thoughts on marriage or relationships, themes seen throughout the album?
I don't know if I learn a ton from what I write. I mean, I haven't really changed any opinions or anything like that. I also wouldn't suggest that the content of the album is really set in stone for however I feel about relationships. It's really just more of a deconstructing some of the concepts of relationships in society and kind of playing around with some of the ideas.
Would you say you were more focused on lyrics over music, vice versa, or were both aspects equally considered?
I mean, I try to balance them equally. I recognize that sometimes it gets a little lopsided with kind of maybe a little more focus on lyrics, but yeah I try to keep it balanced. I'll often remind myself that, "you're writing music, you're not writing a book," you know. So it's really incredibly important that I like the music, and yeah, the music is really the fun part to work on.
Was there ever the prospect of not releasing the album with Saddle Creek?
Yeah, I mean, just as a part of discussing the business side, I mean, fuck yeah, we're open to whatever. I'm not, like, contractually obligated to Saddle Creek. But I'm glad to have them around.
How does Omaha feel to you whenever you come back? Is it different than what it was to you before?
It looks a lot different. I mean, the faces have changed a ton from the way I recall it 20 years ago. But it still feels almost too much the same to me. But I think that's just my own memories kind of haunting all the streets and locales.
Do you ever give a good listen to old Cursive and Good Life albums?
I tell myself I should just to keep up, to remind myself, you know, what kind of production we were doing and what kind of ideas were being used. But I rarely do. I always get really fidgety, and I'll feel like there certainly must be something better I could be doing with my time.
The album features musicians from Cursive as well as Minus the Bear. Did you enlist those people for your touring band, or what does your touring band consist of?
Well, Patrick Newbery who helped on the record and who has been playing with Cursive the last couple years, he is out with us right now. He plays trumpet and keys. And then we have a guy from Chicago, Dylan Ryan, who is the drummer. And we have Lewis Patzner, who plays cello and bass from San Francisco. And those guys, they were not on the album, they're just live musicians.
How did you meet up with those musicians or decide to tour with them?
I mean, it's just kind of getting to know a lot of musicians over the years, just traveling around, recommended players.
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