The Cure by The Cure

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The Cure by The Cure
The Cure by The Cure

Album Released: 2004

The Cure ::: Artwork

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1.Lost4:07
2.Labyrinth5:14
3.Before Three4:40
4.The End Of The World3:43
5.Anniversary4:22
6.Us Or Them4:09
7.alt.end4:30
8.(I Don't Know What's Going) On2:57
9.Taking Off3:19
10.Never4:04
11.The Promise10:16

Reviews

On The Cure, Robert Smith sounds disgruntled as usual, and The Cure make an album that sounds like a particularly adept Cure cover band in a top studio, making a pastiche of Wish with a little Disintegration thrown in.

I don't expect innovation from The Cure, but what worries me is what little these songs are actually based upon. Cure songs used to be built like houses, or in the earlier years built on atmosphere. But the songs on this album don't seem to have any actual foundations, however instantly pleasing the sound may be to long-term Cure fans.

Make no mistake, this is an album for Cure fans, with Cure fan Ross Robinson onboard as producer - a rare outsider in the studio with Robert Smith and co.

The Cure is an instantly appealing album to listen to, and upon hearing the opening track "Lost", it's easy to get carried away and excited, and believe that really, The Cure are well and truly back, with Smith giving one of his more passionate vocal performances, while the music behind him resembles an enjoyably aggressive dirge.

A track that stands up best to repeat listens though is "Anniversary", built upon layers but with a beating heart centred around a little keyboard melody. The vocal melody and lyrics are suitably dark, and The Cure coming out of retirement is worth it if only for songs like this, "Lost", and the Cure-by-numbers (but still decent) single, "The End of the World".

But whereas previous classic Cure songs relied on bass and keyboards, and layered everything, most of these songs are guitar-led and don't have the same musical depth as a result - I mean, since when were The Cure ever really a ROCK band. Sure, on "Us and Them"' the bass rumbles away, yet the keyboards may as well not be there.

Ultimately then, this is a guitar-heavy Cure album - one produced by a metal producer - and it simply becomes tiresome by the album's second half.

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


Robert Smith had made it clear that Bloodflowers was meant to be The Cure's swansong, and this album was originally envisioned as a Smith solo album, but ... well, it's a new Cure album instead.

I guess that was better for the band's fans, as we wouldn't want them crying their guts out and slitting their wrists over the prospect of The Cure disbanding.

Bloodflowers was a good album, but this one is better. I like this album more, as The Cure have stopped trying to make a big grandiose statement of sadness and gloom like they tried to on Bloodflowers. This album is more in the 'fragmented' vein of Wish and Wild Mood Swings, though it doesn't keep constantly switching between highs and lows like Wild Mood Strings did.

Whilst there are a few duffers here and there, there's also several good songs on The Cure, so the album is almost entirely enjoyable. And unlike Bloodflowers, the band stopped being whiny bitches and became pissed off and angry and unpredictable instead. You could kick, trample, and pull the tail of Bloodflowers and it would merely go cry in the corner, this one will bite the veins out of your throat if you tried doing that - it's more electric, more spontaneous, more energetic, although also noisy - and loud as fuck - but blame that on the producers / engineers or whatever.

About that ... the guy who produced this album is the same one who produced some Limp Bizkit records. No need to panic though, that only means there's some weird sounds and effects popping up everywhere, without being obstrusive. And - even better - The Cure finally got rid of the backwards-echo effect that was already old the moment they started using it.

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