Cursive Announces Remastered Reissues

Cursive Announces 20th Anniversary Remastered Reissues of 'Such Blinding Stars For Starving Eyes' & 'The Storms Of Early Summer: Semantics Of Song'.

Cursive has announced remastered versions of their first two albums, 1997’s debut Such Blinding Stars For Starving Eyes and 1998’s The Storms Of Early Summer: Semantics Of Song, in celebration of the 20th anniversary of both albums. Both releases will arrive in stores on December 1, 2017 via their own newly formed label, 15 Passenger.

Remastered by Ed Brooks (Pearl Jam, Fleet Foxes, Mastodon; The Ugly Organ remasters) from the original tapes, both albums will be available for purchase digitally and on vinyl. The vinyl editions will be limited to 2,000 copies and printed on 180-gram, two-color records: Stars will be blue with a white starburst pattern; Storms will be clear vinyl with a white swirl/smoke pattern and mark the first time the album has ever been released on vinyl in the U.S. The Stars reissue features a foreword written by Tom Mullen of Washed Up Emo, while Storms features forewords by Ted Stevens (Cursive’s current guitarist who joined in 2000 following the departure of Stephen Pedersen) and the band’s longtime friend and European tour manager, Oliver Wyczisk. Such Blinding Stars For Starving Eyes and The Storms Of Early Summer: Semantics Of Song feature the original Cursive line-up of Tim Kasher (vocals, guitar), Matt Maginn (bass), Stephen Pedersen (guitar), and Clint Schnase (drums).

Originally released by Crank! Records (Stars) and Saddle Creek (Storms), the albums introduced the Omaha, NE-based band to the world and were the entry point for a devoted following that remains reverential some 20 years later. While these albums document a band in the early stages of a now-storied career, both Stars and Storms already showcased the trademarks for which Cursive has now become known: complex yet lyrical melodies and angular guitars, a heady mix of hushed and noisy dynamics, and Kasher’s incisive, confessional lyricism and singular voice — which Pitchfork would later describe as “a more earnest, volatile, emotionally charged voice cannot be found.”