Over the past two decades, Cursive has become known for writing smart, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific, oftentimes challenging themes, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art, sex, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length, Vitriola, required a different approach -- one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society, much like a writer, creates and destroys; and an oncoming dystopia that feels eerily near at hand.
Cursive has naturally developed a pattern of releasing new music every three years, creating records not out of obligation, but need, with the mindset that each record could potentially be their last. 2015 came and went, however, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records, a movie (the Kasher-penned and directed No Resolution), and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue, O’Leaver’s). The band even launched their own label, 15 Passenger, through which they’re steadily reissuing their remastered back catalogue, as well as new albums by Kasher, Campdogzz, and David Bazan and Sean Lane. And like many others, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country, and seems to grow more chaotic with each passing day.
Which brings us to 2018 and Vitriola. For the first time since Happy Hollow, the album reunites Kasher, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase, as well as co-producer Mike Mogis (Bright Eyes, M. Ward, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich, resonant melodicism, Hitchcockian anxiety, and explosive catharsis -- and no Cursive album would be complete without scream-along melodies and lyrics that, upon reflection, make for unlikely anthems.
There’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger at not only modern society and the universe at large, but also inward towards ourselves. On “Under the Rainbow,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin.
Vitriola raises a stark question: is this it? Is everything simply broken, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration, and the album is deeply relatable: Cursive may not be offering the answers, but there is hope in knowing you're not alone in the chaos.
CURSIVE ANNOUNCES NEW ALBUM, US TOUR AND PREMIERES NEW SONG ON NPR
Cursive has announced their first new album in six years, Vitriola, will be released on October 5, 2018 via their own label, 15 Passenger and with their friends Big Scary Monsters in Europe. NPR Music premiered lead single “Life Savings” this morning alongside an interview with singer/guitarist Tim Kasher; listen to the song now HERE. A foreboding track that carries a heavy weight despite its soaring bridge, “Life Savings” sets the tone for the rest of Vitriola and in many ways encapsulates all things Cursive: seething vocals, angular and intertwining guitars, bone-quaking bass, and pounding drums -- which are courtesy of founding member Clint Schnase for the first time since 2006’s Happy Hollow. Vitriola is Cursive’s debut self-release of a new album through 15 Passenger and can be pre-ordered now HERE (and HERE for Europe).
Recorded at hometown Omaha, NE’s ARC Studios with Mike Mogis -- who last co-produced with Cursive on Happy Hollow -- Vitriola takes a different approach than the tightly woven conceptual albums of the band’s past. It is less rigidly themed and more responsive, and finds the band struggling with existentialism veering towards nihilism and despair; the ways in which society, much like a writer, creates and destroys; and an oncoming dystopia that feels eerily near at hand. There’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers: at its core, the album is about a search for meaning that keeps coming up empty, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger not only at the universe at large and a modern society that seems to grow more confusing, unstable, and chaotic with each passing day, but also inwardly towards ourselves -- illustrating an uncommon self-awareness that’s become a hallmark of Kasher’s songwriting. “Vitriola was written as a reaction to an ulcer I now live with as a result of all the ‘vitriol’ seeping into our daily lives,” explains Kasher. “Rather than contributing to the anger, hopefully this record can be witnessed as a reflection of our collective anxieties, and perhaps offer a little catharsis.”
Sonically, Vitriola runs the gamut between rich, resonant melodicism, Hitchcockian anxiety (frequently courtesy of Patrick Newbery’s keys and Megan Siebe’s cello, an instrument used here again for the first time since The Ugly Organ), and powerful dynamics -- and no Cursive album would be complete without scream-along lyrics that make for unlikely anthems.
Cursive -- joined by touring drummer Pat Oakes -- will head out on a month-long tour of the U.S. this fall, beginning October 18 in Kansas City, MO. The tour will wrap up on November 18th with an Omaha show and includes an October 26 stop at The Fest 17 in Gainesville, FL and a November 7 stop at Irving Plaza in New York, NY. Meat Wave and Campdogzz -- their first non-Cursive signing to 15 Passenger that released a new album, In Rounds, last week -- will support on most shows. A current itinerary is below and more dates will be announced soon.
Cursive is: Tim Kasher (vocals/guitar), Ted Stevens (guitar/vocals), Matt Maginn (bass), Clint Schnase (drums), and Patrick Newbery (keys), with Megan Siebe on cello.
1. Free To Be Or Not To Be You And Me 3:26
2. Pick Up The Pieces 3:25
3. It’s Gonna Hurt 5:32
4. Under The Rainbow 3:19
5. Remorse 3:24
6. Ouroboros 6:00
7. Everending 4:11
8. Ghost Writer 3:07
9. Life Savings 4:40
10. Noble Soldier/Dystopian Lament 7:28
CURSIVE ANNOUNCES 20TH ANNIVERSARY REMASTERED REISSUES OF FIRST TWO ALBUMS: 1997’S SUCH BLINDING STARS FOR STARVING EYES & 1998’S THE STORMS OF EARLY SUMMER: SEMANTICS OF SONG
Cursive has announced plans to reissue 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, and Stars is now available for pre-order HERE, while Storms is available HERE.
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.”