2/28/2023 0 Comments The cure t shirt disintegration![]() ![]() Robert Smith sounds strangely like Brian Eno on this one, letting the soundscape do most of the emotional storytelling as he coos from behind the thick fog, “The columns are all men/ Begging to crush me/ No shapes sail on the dark deep lakes.” breakthrough album Kiss Me, Kiss Me, Kiss Meseemed to be actively fighting their way out of your speakers, the lovely ballad “Catch” takes one of the lightest touches in the group’s catalog.Smithin particular comes off so low key, it almost sounds like he’s singing through a vocal filter on thislove-that-never-was story.Its fragile strings and shuffling drums give it a delicacy rare to singles of its period, and allow for unforgettable moments like Smith unexpectedly echoing his “ Just rolling about on the floor!”sigh, taken aback by the memory’s power.Ībout as phantasmal as early Cure got, all endless drum reverb and lightly moaning synths and tensely plodding bass - you can practically see the shadows being projected against the back-alley wall. While the rest of the singles on The Cure’s U.S. ![]() “Catch” ( Kiss Me, Kiss Me, Kiss Me, 1987) Truth told, Wild Mood Swingsis pretty underrated on the whole - just sabotaged by a terrible album cover and an inexplicable choice of lead single, which we’ll get to here soon enough.ģ5. If you picked up one of the many copies of Wild Mood Swingsavailable in used CD racks across the country in the late ’90s, you might be pretty confused from the first track as to why the album was such a clearance regular:“Want” is a perfect opener, a slow-building epic of desperation, its synths dancing around the stereo span like an itch at the back of your subconscious. These titular cappers never went too big with their summations, though: The emblematic “Seventeen Seconds”reads its bitter dénouement matter-of-factly over greyscale guitars and a mercilessly ticking drum machine: “The picture disappears / Everything is cold now / The dream had to end/ The wish never came true.” The song ends with an ambiguous repetition of its title, terrifying in all its unsuggested possibilities. Particularly in their early run, The Cure excelled at title tracks, most often using themas closing statements. “Seventeen Seconds” ( Seventeen Seconds, 1980) On lead single “Maybe Someday,”that evenness worked to its advantage, allowing the gentle ache of the song’s lyric to gradually deepen over the chorus of its five minutes.ģ7. The Cure’s first album of the 21st century aimed to recreate the majesty of the group’s largely unquestioned 1989 masterpiece Disintegrationbut seemed to forget how vivacious that album was in its dreamy sprawl by contrast Bloodflowerswas fairly flat in its production and dynamics. Read on below, and let’s never misjudge their limits or take them for granted again.ģ8. ![]() It’s one of the richest catalogs in rock history,one of thundering drums, shimmering synths and refracting guitars, galloping bass lines - many played by a guy literally named Simon Gallup! - and of course, lyrics and vocals so expressive that the singer eventually had to sport the genre’s over-the-top clothes, hair and lipstick to match. You’ll find both of those songs below in our list of the top 40 songs The Cure ever did - a list spanning 13 albums and even more lineup changes, as well as dozens of singles (andinextricable accompanyingmusic videos), and so many great B-sides they eventually had to release a friggin’ box setof ’em. Neither song feels any more authentic to its opening than the other both just feel quintessentially like The Cure. But the songs they kick off couldn’t be more different: The former is the kind of apocalyptic death-disco throwdown you might expect from such a lede, but the latter is a jangly endorphin rush of a pop-rock singalong. ![]() Take two of drama queen frontman Robert Smith’smost iconic opening lines: “It doesn’t matter if we all die” and “Yesterday, I got so old, I felt like I could die.” On their face, the lyrics feel similarly gloomy, despairing, nihilistic. ![]()
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