There’s no way around it: The Cure is one of the most important bands of the last fifty years. You read that right, almost fifty years. The band from Crawley was founded in 1978 as The Easy Cure, but was subsequently renamed the much better The Cure. The only constant in the English band is frontman Robert Smith, because there has always been a coming and going of group members. Some group members stayed very briefly, while others joined or left the band, only to retrace their steps afterwards. One thing is certain, The Cure has always been populated by fantastic, creative musicians. The group’s catalog is gigantic and we cannot simply write that only new wave was created. The debut album Three Imaginary Boys was still chock full of punk elements Seventeen Seconds and twin plate Faith there were many more real new wave. Pornography in Disintegration are 100 percent true gothic records Kiss Me, Kiss Me, Kiss Me, The Top, The Head On The Door in Wish many more boast pop songs that were and are streamed by the millions at the same time. The Cure made many more records, but we are not here to discuss the entire, grandiose oeuvre.
Awake spectators will have noticed at performances in recent years that a number of songs from the new album have already been performed live. The intention was to release the album in 2019, but Smith preferred to take his time to refine the music as much as possible. It’s also the first time since The Head On The Door that the frontman really composed everything alone. Of course, the man with the dead bird’s nest on his head did not plan everything himself. The Cure is currently a five-piece with Jason Cooper on drums, the (almost) eternal constant Simon Gallup on bass, Reeves Gabrels on guitar and Roger O’Donnell on keys. O’Donnell is also not in his prime with the band, but is sometimes replaced live by another veteran, Perry Bamonte. Gabrels is the only ‘new’ band member. The man made his mark with Tin Machine, David Bowie’s band, and as a guitarist on records Outside in Earthling from that same legend. We would like to point out that the artwork on the cover is again by Andy Vella, the designer who has already enriched countless covers of The Cure with his creative splendor. Feel free to check the website of this artist and be surprised by the amount of work he has already completed for the British.
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It has been sixteen years since the group released an album, but we can already say that the patience is more than rewarded. It is immediately noticeable that the style of the fresh throw harks back to songs from Pornography in Disintegration. Opening track “Alone” was already released as a single and boasts a very long intro that only Smith can compose together. They play expectantly and almost menacingly for several minutes until Smith puts his characteristic voice on the song. In this song we also see an ideal, new opener for the concerts. There are eight songs on the album and it clocks in at just over the length of a 45-minute cassette. “And Nothing Is Forever” also lasts almost seven minutes due to the beautiful, long intro on the piano. There are a lot of bells involved, but it sounds anything but stale. On the contrary, the band takes you on a journey, a journey full of expectations that already have the aura of being fulfilled. On “A Fragile Thing” Cooper’s full drum pattern is very noticeable. This is top drumming! Even at the age of 65, Robert Smith knows how to write a beautiful song about unrequited love or love that has broken too quickly to never be healed. Gabrels also shows here what added value he brings to The Cure. Guitarist from the (almost) first hour Porl (now Pearl) Thompson played few guitar solos, but Gabrels is a master at this and likes to show this.
A golden tip: listen to the album with a pair of headphones on the side! “Warsong” is a banger of a song in which everything sounds brilliant and excellent, but this really needs to be listened to with headphones. Only then will you hear the brilliant sound of the song! Be sure to read the biography of Lol Tolhurst, the band’s first drummer and later keyboardist; roses were often not in The Cure’s dictionary due to major differences of opinion about the direction the music should go. Here it is clear that Smith composed everything himself and gave instructions to his glorious band members. “Drone:Nodrone” has therefore almost become a metal song on which Smith half sings, half raps. Here the band takes a detour for the thousandth time, a musical detour that we had never heard from the quintet. What a guitar solo too!
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“I Can Never Say Goodbye” starts with the sound of a heavy storm that you feel remains hidden somewhere throughout the song. Here too a very long intro in the nature of “Trust” van Wish, that you keep thinking is going to erupt at any moment. This is again vintage and classic Smith: a song that sings about pain and in which that pain simply bites a bite out of the heart and can no longer be healed. “All I Ever Am” starts with wailing drums like those on songs like “The Hanging Garden” of “One Hundred Years” can be heard. Here too, the intro demands patience from the listener, patience that is rewarded with yet another beautiful, melancholic vocal part by Robert James Smith. The gloom is oozing and we are already starting to realize that the band may really mean it when they say that an ultimate end date is already written in the stars with 2029.
The final feat is aptly called “Endsong” and lasts more than ten minutes, but what a fantastic six hundred and twenty-five seconds. The Cure ends his album with a hammer blow of an almost entirely instrumental composition and it really sounds wonderfully baroque and bombastic. This is another fantastic show, a formidable final gift from Smith and his companions. For us, this album is by far the best The Cure has released since Disintegration released in 1989. Smith has created a multi-headed monster with his latest work, a monster that lurks and spies, sniffs and bites, hits and anoints victims, lets the living die and raises the dead. We almost dare to call this a divine record, a record that belongs on Mount Olympus, Valhalla or at the golden gates of heaven. This record is the nirvana in which the highest holiness is attained. May 2029 be a long time away.
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Discover “A Fragile Thing”, our favorite song from Songs Of A Lost Worldin our Picture of the Plate-playlist op Spotify.
Right then, folks, let’s have a chinwag about one of the most legendary bands of our time: The Cure! Founded in the late ’70s, The Cure is rockin’ and rollin’ into its fifth decade – which, if you’ve been counting, is practically a lifetime in rock years! I mean, have you tried counting the number of hairstyles Robert Smith has had? It’s like watching a live episode of *Changing Rooms* – one moment it’s all gothic glam, the next it’s an avant-garde bird’s nest that could house a family of sparrows!
Now, when it comes to members flitting in and out like they’re at an Italian restaurant with a revolving door, The Cure takes the cake. It’s like Hogwarts for musicians: come for the magic, stay for the food fights, and then promptly leave because you’ve got a show with Robert Smith to catch! In fact, Robert is the sole constant; he’s like that one friend who always brings a wonderful cheese platter to gatherings while his mates decide disco isn’t their thing anymore and head to the nearest jazz bar.
Now let’s get to the music! The Cure’s debut, Three Imaginary Boys, isn’t just a walk down punk rock lane – it’s more of a leisurely stroll through ‘80s vibes, complete with skittish vibes and moody lyrics about, let’s say, emotional upheaval. If you think new wave is all balloons and confetti, think again! Their gothic records, like Pornography and Disintegration, absolutely scream melancholy like a teenager being told they can’t listen to *Teenage Dirtbag* one more time. And boy, oh boy, does Robert Smith write about his feelings – the man practically needs a therapist on speed dial!
Now, let’s spill the tea: it’s been a whopping sixteen years since their last album! Sixteen years! You could have raised a child during that time. And speaking of anticipation, the new album is like waiting for a bus that keeps getting delayed because the driver is, well, composing his magnum opus instead! But fret not, dear listeners; patience is a virtue, and it absolutely pays off. The opening track, “Alone,” is more than just a song; it’s an experience. I mean, you can practically hear the angst in that long intro—a little something for everyone to dwell on before Smith’s haunting voice creeps in like a cat burglar in your heart.
As I dug deeper into the tracks, I had a delightful revelation: “Warsong” is a banger! However, make sure to listen to it with headphones on because let’s be real – any other way would be like eating a fancy meal with your hands. You simply can’t enjoy the layered musicality without all the bells and chimes ringing in your ears. And don’t even get me started on “Drone:Nodrone”! It’s like The Cure decided to up their game with a cheeky little detour into metal. Can you imagine Robert Smith rapping? Well, it’s a dead giveaway that music shouldn’t be pigeonholed!
And let me tell you, the final track “Endsong” – oh sweet lord, if that isn’t a love letter to every melancholic soul out there! It’s over ten minutes of orchestral splendour that makes you wonder if it’s time to send your therapist a ‘thank you’ card. Seriously, it’s like an exquisite meal that just keeps on giving; for over six hundred seconds, each note hits harder than reality does when the bills arrive! If they’re really going to stop making music in 2029, they’ve surely decided to go out with a bang – no, wait, a *firework display*!
So, do yourself a favour, grab a pair of headphones, take a journey with this new album, and indulge in the darkness that is Robert Smith’s creative genius. It’s a multi-headed monster, spitting out emotions so colossal, you’d think it was some divinely inspired music to go with a trippy film. And if that doesn’t have you itching for the *final countdown*, my dear reader, then I’m afraid the wailing drums of “All I Ever Am” just might be your last chance!
In closing, *Songs Of A Lost World* is a magnificent achievement in the Cure’s impressive catalogue – an album that feels like an epic saga of heartbreak, love, and every nuance in between. Let’s just hope that 2029 is as far away as Robert Smith’s last visit to a barber! Now, go on, follow them on Facebook and Instagram, listen to “A Fragile Thing,” and immerse yourself in the wonderful yet woeful world of The Cure! C’mon, let’s not kid ourselves; everyone needs a good mope every now and then!
There’s no denying it: The Cure stands as one of the most influential bands of the last fifty years, and yes, you read that correctly—fifty. Hailing from Crawley, this iconic band began its journey in 1978 under the name The Easy Cure before transforming into the much more fitting moniker, The Cure. The sole permanent fixture in this illustrious ensemble is the enigmatic frontman Robert Smith, who has witnessed a revolving door of band members throughout the years. Some musicians stayed for only a fleeting moment, while others departed only to return later. Regardless, it is undeniable that The Cure has consistently attracted a wealth of incredible, inventive talent. Their extensive catalog defies easy categorization; while they undoubtedly paved the way for new wave, their influences are much broader. The band’s debut album, Three Imaginary Boys, was infused with punk elements, whereas Seventeen Seconds and the twin album Faith showcased a more authentic new wave sound. Both Pornography and Disintegration are quintessential gothic masterpieces, while albums like Kiss Me, Kiss Me, Kiss Me, The Top, The Head On The Door, and Wish feature irresistibly catchy pop tunes that continue to resonate with millions of listeners. Although The Cure has produced an impressive array of albums over the decades, our focus here is not on a comprehensive retrospective of their remarkable body of work.
Aware fans may have observed hints of the band’s forthcoming album during their live shows in recent years, with several tracks making appearances. Initially slated for release in 2019, Smith decided to take a step back, meticulously crafting the music to reach its full potential. Notably, this album marks the first occasion since The Head On The Door where Smith has exclusively composed all the music on his own. Nevertheless, he certainly doesn’t operate in isolation; currently, The Cure comprises a five-member lineup, featuring Jason Cooper on drums, the ever-reliable Simon Gallup on bass, guitarist Reeves Gabrels, and Roger O’Donnell on keyboards. Though O’Donnell isn’t a newcomer, his live appearances may sometimes be alternated with veteran musician Perry Bamonte. Gabrels, previously most recognized for his work with Tin Machine and David Bowie’s albums Outside and Earthling, is the freshest face in the band. Not to be overlooked, the album’s striking cover art is once again the work of Andy Vella, a designer whose creative flair has graced countless Cure albums in the past. You can admire Vella’s impressive portfolio by visiting his website.
After a sixteen-year hiatus since their last album, the wait has certainly paid off. The new tracks evoke elements reminiscent of Pornography and Disintegration. The opening track “Alone” was previously unveiled as a single, featuring an exceptionally lengthy intro that only Robert Smith could conjure. For several tension-filled minutes, the band plays with an anticipation that borders on menacing until Smith’s signature voice breaks through. This song serves as an excellent new opener for their concerts. The album features eight tracks, totaling just over the length of a typical 45-minute cassette. “And Nothing Is Forever” is another standout, nearly clocking in at seven minutes, thanks in part to its exquisite, drawn-out piano intro. The intricate layering of bells contributes a refreshing touch, elevating the song instead of weighing it down. The band is set to take listeners on an exhilarating journey filled with anticipation and promise. In “A Fragile Thing,” Cooper’s dynamic drumming truly shines, showcasing exceptional skill and artistry. Despite celebrating his 65th birthday, Robert Smith has once again skillfully crafted a poignant song exploring themes of unrequited love and fleeting relationships. Gabrels, with his extraordinary guitar prowess, adds a new dimension to The Cure, contrasting with the more limited solos of the band’s earlier guitarist, Porl (now Pearl) Thompson.
For an immersive listening experience, consider diving into the album with a pair of high-quality headphones. The track “Warsong” emerges as an absolute standout, bursting forth with sonic brilliance that simply begs to be heard through headphones for the full effect. Delve into the biography of Lol Tolhurst, the band’s founding drummer and later keyboardist, to uncover the tumultuous journey where creative disagreements often clouded The Cure’s path. Here, it becomes evident that Smith has taken the reins, composing independently while guiding his illustrious bandmates. The track “Drone:Nodrone” takes an intriguing turn, almost reminiscent of a metal song, where Smith employs a vocal style that straddles the line between singing and rapping. This stylistic detour is yet another example of the band’s willingness to explore new musical territories, culminating in an outstanding guitar solo that captivates the listener.
“I Can Never Say Goodbye” commences with the haunting sounds of a raging storm, an ominous presence looming throughout the song. Once again, Smith stretches out the intro, echoing the feel of “Trust” from Wish, building anticipation until it seemingly threatens to erupt at any moment. This track is quintessential Smith: a profound exploration of pain that leaves listeners feeling the heart-wrenching ache of unhealable loss. “All I Ever Am” kicks off with resonant, wailing drums, reminiscent of tracks like “The Hanging Garden” and “One Hundred Years.” Once again, patience is rewarded as listeners are treated to another beautifully melancholic vocal performance by Robert James Smith. An air of gloom permeates the track, leading us to ponder the authenticity of the band’s implications that a definitive end could arrive as early as 2029.
The album concludes on a fitting note with the track “Endsong,” which spans over ten minutes and serves as a breathtaking finale. This astonishingly intricate piece, primarily instrumental, exudes a rich baroque and bombastic quality. The Cure leaves listeners with a remarkable coda, a splendid farewell gesture from Smith and his talented companions. For many fans, this album stands tall as The Cure’s most impressive work since Disintegration, released back in 1989. With his latest effort, Smith has sculpted a multi-faceted sonic creature that prowls and probes, sniffs and strikes, overtaking the living and resurrecting the fallen. We might even venture to label this an otherworldly record—a masterpiece that rightfully deserves a place on Olympus, Valhalla, or at the celestial gates of paradise. This album embodies a state of nirvana, bringing listeners in touch with the highest realms of artistic expression. Here’s hoping that 2029 remains a distant horizon.
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Discover “A Fragile Thing,” our favorite track from Songs Of A Lost World, in our Picture of the Plate playlist on Spotify.
E hiatus may be approaching. As the song unfolds, the atmosphere thickens with anticipation, wrapping around the listener like a ghostly embrace.
The album’s final track, “Endsong,” emerges as a magnum opus reflecting the depth of The Cure’s emotional repertoire. This nearly ten-minute journey encapsulates the essence of despair and redemption, perfectly aligning with Smith’s lyrical prowess and the band’s intricate instrumentation. The orchestration is grand, with sweeping string sections and haunting melodies that linger long after the last note fades away. One can almost envision Smith, in a moment of introspection, pouring his soul into these notes, crafting a bittersweet ode to the human experience—a fitting conclusion to an album rich with explorations of love, loss, and longing.
In the grand scheme of things, *Songs Of A Lost World* isn’t just another album in The Cure’s illustrious career; it’s a testament to their evolution as artists, a celebration of their legacy, and a profound exploration of the dichotomy between joy and sorrow. Each track plays like a chapter from a beautifully tragic novel, ensuring that listeners will find themselves reflecting back on their own stories, intertwining with the melodies woven by Robert Smith and his talented ensemble.
So, as the anticipation builds for the band’s approaching tour and potential final bow, remember to embrace the shadows and let the sounds of The Cure guide you through the valley of memories. Whether you’ve been a loyal follower since the early days or you’re just discovering their music, there’s no doubt that The Cure continues to resonate across generations. Their sonic explorations serve as a reminder that it’s okay to feel deeply, to embrace the complexity of life—after all, when it comes to matters of the heart, even the darkest songs can illuminate the way.
