Tim Kasher seems to never rest. Since 1997, he has written and released 12 full-length albums both as a solo artist and with his bands Cursive and The Good Life, and has crisscrossed North America and Europe countless times on tour. His latest album, sophomore solo effort ‘Adult Film’, began coming together in late 2011, just shortly after Cursive finished recording their seventh LP ‘I Am Gemini’ (Saddle Creek, 2012). Kasher continued to work on it over the next year before heading to Electrical Audio studio in his adopted hometown of Chicago, Illinois in spring 2013.

‘Adult Film’ is more thematically elastic than any other of his recent albums, and spans songs that reflect on matters such as aging and mortality, growing up and growing older, and how these things impact our relationships – including the way we interact with and view the life around us. Kasher is as lyrically incisive as ever: the album is packed with thoughtful apprehensions, cleverly turned phrases, and reflections on himself and the world at large, all run through his distinctive filter of dry wit and frequent self-deprecation.

Musically, the new album plays down the orchestral element of his lush debut solo album ‘The Game Of Monogamy’ (Saddle Creek, 2010) and offers a more direct, yet no less affecting, blend of rock and pop. Kasher is aided throughout by Sara Bertuldo (bass, vocals), Patrick Newbery (organ, keys, synths, horns), and Dylan Ryan (drums) – who backed him while touring around Monogamy – as well as Nate Kinsella (drums; of Make Believe and Birthmark); Laura Stevenson (vocals; of Laura Stevenson and the Cans); Matt Focht (drums; of Head Of Femur); Jenna Morrison (vocals; of Conduits); Laura Carrozza (flute; of Aficionado); and Sarah Holtschlag (saw). ‘Adult Film’ was mixed by John Congleton (St Vincent, Wye Oak, Explosions In The Sky) at Elmwood Recording in Dallas, TX. Kasher has become known throughout his career for insightful, literate, and candid song-writing, and his solo work and albums with Cursive and The Good Life have been praised by Rolling Stone, Esquire, The New York Times, Alternative Press,

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