Wish by The Cure

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Wish by The Cure
Wish by The Cure

Album Released: 1992

Wish ::: Artwork

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1.Open6:53
2.High3:39
3.Apart6:40
4.From The Edge Of The Deep Green Sea7:46
5.Wendy Time5:15
6.Doing The Unstuck4:26
7.Friday I'm In Love3:40
8.Trust5:34
9.A Letter To Elise5:16
10.Cut5:57
11.To Wish Impossible Things4:45
12.End6:45

Reviews

In a superficial sense, Wish is structured in a similar fashion to the previous two albums, for example it runs for over an hour. Disintegration had a cohesive mood, Kiss Me Kiss Me Kiss Me didn't, but it did seem to envelop you as if it had - it took you on a journey. Wish is more straightforward - half the album is a return to the pop of Head on the Door, while other tracks continue the usual Cure moodiness and darkness, albeit with a different sound.

The production here is very 90's, not a trace of that 80's thinness that was common with a lot of 80's indie/alternative albums, including The Cure's. Things changed with recording technology and a lot of artists produced albums at the turn of the 90's that sounded different to anything they'd recorded previously. Certain artists embraced the new technology to move in different directions, others retained their usual traits but used the 'new sound' to polish up their previous sonic template.

That was fine for the likes of Cocteau Twins, who with Heaven or Las Vegas married more polished production with arguably their finest set of songs. The Cure don't quite manage the same feat here, although they do still produce a fine set of tunes. Expectations perhaps were overly high, as some Cure fans almost lived or died through the band's albums, but Wish just doesn't have that air of 'magic' surrounding it that the best Cure albums possessed. It's still a fine album though.

"Open" immediately sets out the differences, being guitar-oriented whereas Disintegration led more with keyboards. There's a minute or so instrumental introduction before Smith sings what is a mighty opening tune, containing all the required hints at desperation married to a fairly thrilling guitar assault. "High" and "Friday I'm In Love" are the main singles, the former - following on from "Open" - helps etch out a strong beginning to the record, a poppy counterpart to the anguish of "Open".

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by Reviewer: Adrian Denning (blogging at Adrian's Album Reviews)


By 1992 Robert Smith finally started to get some credit for creating an entire generation of heavily-chorused swirly-guitar landscape artists - bands like My Bloody Valentine, Medicine, and Spiritualized - that had cropped up in the late-80's in an otherwise Stone Roses-obsessed Britain.

... not to mention the whole alt.rock explosion in the US, which made frowning and loud guitars acceptable for at least three or four years, before it crashed and burned in a big mushroom cloud of Hooties and Cranberries.

Disintegration had pushed The Cure to their highest level of worldwide success, and massive tours and MTV videos were now the order of the day. Wish attempts to continue the band's reign, but at the same time tries to distance them from their previous album with some really solid, loud material that on the one hand is too smart to be inaccessible yet not dumb enough to become outright Hard Rock.

Wish does however back off quite a bit from the density of Disintegration, lets the sun shine through the cracks, and enables the kids to have a little shiny happy fun for once. I'd say it lets off the hard-ass throttle so much it beats even Head as the least deadening Cure album so far, which isn't to say the music is light at all ...

Smith's guitar-work steps up and jaws out some of his most tasty licks, biting off deep gobs of sticky feedback and chewing up riffs. And the familiar ol' delay-jangle makes several appearances (like on the draggy "Apart", and the giddy Byrds/R.E.M. homage "Friday I'm In Love"), but there's more confidence and more playing than from Smith previously. It's not gonna take your head off or anything, but the guy's pretty good at his trade nowadays, and has come a darn long way from when he couldn't remember the second chord to "Killing an Arab".

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by Reviewer: Capt Bonanza (blogging at Capn Marvel's Bonanza [Defunct])


Basically, Wish picks up from where Kiss Me Kiss Me Kiss Me left off, but with slight doses of Disintegration all over. For example, "A Letter To Elise" is like "Pictures of You" redux! (well OK not exactly, but it's got the same rhythm, albeit slower, the twangy guitar layers, and the atmosphere).

Everywhere else, the songs are in a vein similar to Kiss Me, and they don't form a cohesive whole or mood in the way that Disintegration did. So Wish is really just a collection of twelve songs, and that kinda reduces the album's impact for me - I prefer The Cure when they're making rich / vast landscapes of sound, be them light or dark, soft or harsh, whereas this album has less focus in that respect.

Most of the songs are good though, even if the album rarely grabs me by the collar and holds me against the wall. And the good songs are very good in fact! The mood is significantly lighter than on Disintegration - there are still gloomy / sad songs like "Trust" and "Apart", and intense ones such as "From the Edge of the Deep Green Sea" and "End", but they're lighter overall.

The sound is less intense and rich too, but that's not a really big deal. Kiss Me also had a somewhat sparse sound, yet it was still good, and Wish is the same in that respect. But the thing that strikes me is that these songs aren't too memorable - Disintegration was filled with things that stuck in my head and made me want to return to it over and over, the same with Kiss Me too. Heck, the same with even Faith!

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by Reviewer: Fernando Canto (blogging at Sir Mustapha's Album Reviews [Defunct])


To follow an album like Disintegration without looking foolish would be a hard task for anybody. Perhaps Smith realized that, and that's why he chose to offset Disintegration's beautifully melodic and melancholic / introspective feel with a driving record like Wish.

In between such British Invasion-like hook-filled pop jewels "High" and the big hit "Friday I'm In Love", there's a strange collection of sometimes challenging songs that by all logical accounts shouldn't work when brought together.

Wish is The Cure's most manic album - Smith has never before gone from sounding as pissed off as he does on the incredible starting point "Open", to as happy and carefree as he does on the great single "High". But make no mistake, this is possibly The Cure's loudest album to date, with no less than three of the album's songs taking their sweet time to emerge from washes of distortion and white noise.

That's not to discount Wish containing some of the band's finest ballads however, with "A Letter to Elise" and the title track "To Wish Impossible Things". Such songs are a clever yin to the rest of the album's yang, and - apart from a few duds - Wish stands as a very successful follow-up to Disintegration, and one of the band's very best releases.

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by Reviewer: Austin