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While most tracks on this album can be described as punk or post-punk, there were hints of the band The Cure would become; with the most prominent being the song Three Imaginary Boys. If some of Smith's later work could be described as gothic rock, and then gothic pop, this track may best be thought of as gothic punk. Combining bright jangly guitars, thick bass, thumping percussion, and Smith's haunting echoes into a spooky but upbeat whole, this song is a complete mood.
When old heads describe The Cure as a post-punk band I suspect 10:15 Saturday Night is the song they're thinking of most prominently. With its minimalist production, a slight echo on Smith's vocals and the song's percussion mostly amounting to drummer Lol Tolhurst tapping his sticks together, this track actually sounds a bit like a workshop demo by The Police; but in a good way. 10:15 Saturday Night also features a rare Smith guitar solo that's simple but catchy as hell.
Another great example of a song that borrows from multiple genres and points toward later versions of The Cure's sound is the extremely catchy "Fire In Cairo." A little bit punk, a little bit pop, and dripping with post-punk production, this track's bright guitar, bathroom stall vocals, and smooth base are so tightly arranged it's legitimately hard to believe Smith wrote this before his twentieth birthday; even if the spelling bee chorus is a bit clumsy and repetitive.
In the history of bad decisions by music labels, leaving Boys Don't Cry off the first version of The Cure's debut album has to rank up with the worst. In just over 2 and a half minutes Smith would showcase the ability to craft a simple, but perfect pop masterpiece that reveals everything that sets the band's work apart from the goth, alternative, and post-punk acts they inspired. By the way, the title is sardonic; this song is about macho stoicism costing Smith the girl.
Given that Boys Don't Cry is just Three Imaginary Boys with the banger non-album singles added back in, there aren't many options for showcasing the band's B-Sides here. The track that does qualify, I'm Cold, isn't actually good because it's wildly overproduced and sounds like the band just turned all the effects knobs to maximum. It is however quite an interesting preview track of techniques The Cure would eventually refine and use to produce some truly amazing music.
8) 4:13 Dream (2008)
https://en.wikipedia.org/wiki/4:13_Dream
I think this is without question the most unfairly rated album in The Cure's catalogue, with many fans claiming it's the worst record the band ever released. To me, this is bonkers; while I concede there's a few clunkers, my standard for a great album is six banger tracks and by my count 4:13 Dream has seven, including its opener which easily ranks in my top 10 Cure songs of all time. This is more of a guitar than a keyboard record, but it delivers.
One of the things I really like about this album is the way Robert Smith experiments with rolling, non-traditional vocal deliveries. A great example is This Here and Now With You; a track about putting bad times behind you, and embracing the moment with the love of your life. There's still a bit of jangle guitar, and layered synth work here for Cure traditionalists, but Smith's vocals carry the band to a rollicking place they've never been before and it makes the track.
Speaking of non-traditional vocal delivery, Sirensong is a dreamy little treasure that borrows from The Cure's past without sounding quite like anything else they've released. I'm absolutely in love with the slide guitar work and the background shatter-stop effect on Smith's voice, while the strumming acoustic guitar and bouncing keyboards are at least reminiscent of certain The Head on the Door era Cure tracks. The ending is a bit abrupt but otherwise it's a winner.
Hearing Smith take a stand against capitalist culture and consumerism was always guaranteed to pique my interest, but I also think The Hungry Ghost is one of the more fleshed out, better produced track on 4:13 Dream. There's hints of Wish-era guitar, and the driving pace of Smith's vocals make for a classic Cure single that somehow wasn't a single. The song also continues the long and mutual love affair between The Cure and Ride, borrowing from the latter's Vapour Trail
I am not exaggerating when I say Underneath the Stars is one of the best songs in The Cure's entire catalogue and even if every other track on this album were terrible, its presence on 4:13 Dream would be enough to justify buying it. Although the Cure isn't a shoegaze band, they helped inspire the genre and this track is clearly Smith making a shoegaze-esque track in the style of The Cure. If Smith ever cut a whole album full of songs like this, I could die a happy fan.
With its melodic electric guitar line and acoustic strumming underneath, Without You wouldn't be out of place on previous Cure albums like Wish or The Head on the Door; which is probably why it's a singles B-Side for this album. Despite this I think it could have easily replaced any one of four tracks on 4:13 Dream and been an improvement. More bittersweet than truly sad, Smith writes a lot of songs about breaking up for a happily married man - this one is a hidden gem.
7) Bloodflowers (2000)
https://en.wikipedia.org/wiki/Bloodflowers
The third album in a dark atmospheric trilogy that includes Disintegration and Pornography, this is a polarizing record. Some folks love it, while other fans think it's a pale, soulless imitation of the other two parts of the trilogy. Personally, I like the dreamy melancholy of Bloodflowers, but I concede it lacks Disintegration's wall to wall stand out tracks and Watching Me Fall in particular is an 11-minute long misfire that damages the whole.
If Bloodflowers is meant to be a thematic companion to Disintegration, the track where The Cure sticks that landing best is Out of This World; atmospheric, melancholic, and utterly ethereal, this track could fit on either album. Written at a time when Smith thought this might be the band's last album, it's a gorgeous love letter to The Cure and a rumination on the bittersweet sadness of knowing good times always have to end. Lush and melodic, this is the band at its best
From a musical standpoint, Where The Birds Always Sing would fit in well on Disintegration; it's a lush, layered soundscape with an atmospheric arrangement, traditional hooks and guitar work for the Cure. There's even a hint of wind chimes; a Disintegration staple. Lyrically however the track goes in a completely different direction, eschewing tragic romanticism for an expression of Smith's existentialist worldview. This subversion creates a mature, yet familiar sound.
Although The Cure would go on to release two more albums in between, I think the song in their catalogue that most presages the themes explored on Songs of a Lost World, is The Last Day of Summer. Shrouded in wistful longing, resignation, and melancholy, Smith grapples with aging and a sense of time running out; but in a way that's too achingly beautiful to qualify as wallowing. Heavy on strings, the fuzz-tinted guitar work produces a powerful gaze adjacent Cure track.
Although Smith chose to release Bloodflowers without a single to showcase the album as a complete listening experience, Maybe Someday bears all the hallmarks of a Cure hit. Rich guitar, thick bass, and stadium anthem percussion back the frontman's signature wailing vocals to create a track that could slot in to any of The Cure's albums over the prior fifteen years. Singing once again about ending a relationship, Smith remains hopeful that "maybe someday" he can try again
With no singles, Bloodflowers also lacks B-Side tracks; but the band did release an internet exclusive bonus track called Spilt Milk. Unfortunately the sound quality on the recording is about what you'd expect for a downloadable file in 2000, but underneath the muddy buzz lies an interesting and pacey pop track about the forks in life's road and choices never made. New Order-esque guitar and aquatic synth work make this a catchy song that deserved better production.
6) Wild Mood Swings (1996)
https://en.wikipedia.org/wiki/Wild_Mood_Swings
Four years after ending a four album "imperial phase" that saw the band release the best work of their career, The Cure returned with a semi-bloated record that saw the band experimenting with a dizzying variety of styles and influences. Unfortunately, this effort went over like a lead balloon with a fanbase used to tighter, thematically complete albums and still reeling from The Cure's pure pop turn on hit single Friday I'm in Love.
(ct)
That's tragic because while Wild Mood Swings contains some notable misfires, and its reception wasn't helped by Smith's strange choice of radio singles, this is the band's most underrated album and over time critical opinions of it have greatly improved. Album cohesion is nice, but at the end of a day great songs make great albums, and this record has plenty of those; if Smith had replaced the three weakest tracks on a fourteen song album with its amazing B-sides, they would've had a smash hit.
One of the things The Cure does extremely well is subvert expectations by combining contrasting music and lyrics. On Jupiter Crash, the band pairs dreamy, almost melancholic acoustic strumming with Smith's wry lyrics about astronomy and romantic courtship gone wrong, to create one of the finest and most unique songs The Cure has ever released. Although the production took a while to grow on me, I'm delighted with the way the track mimics gentle, rolling waves on a beach.
Given the outrage among many fans of The Cure when this track was released as the first single from the album, I suspect including The 13th here will be a controversial opinion. That's unfortunate because on its own, this song is quirky, inventive, courageous and fun. The mariachi-style guitars, Latin percussion and brassy horns come together on a track that's almost unique in The Cure's catalogue, and the two-chord "cool" interplay make for an intoxicating experience.
Another exquisite feature of this album is that portions of it were recorded with a string quartet in place of the band's traditional synth section and that decision notably defines the gorgeous song Treasure; a composition inspired by the 19th century Christina Rossetti poem "Remember." Equal parts beautiful, melodic and heartbreaking, this emotional track showcases an earnest, minimalist side of The Cure while incorporating a hint of wispy dream pop-style production.
On an album full of experimentation and genre hopping, the song peak era Cure fans are here for is definitely "Want." Swirling guitars, a driving baseline, stadium rock percussion and Smith's wailing vocals combine to create a dark, moody, and powerful anthem that should have been the lead single. From its ominous slow burn buildup to Smith's final repeating thesis, this track goes hard and I consider it a spiritual successor to The Cure's Crow soundtrack hit, Burn.
Given Wild Mood Sings has five amazing B-Sides and one great Japanese only release, it's hard to choose one to feature. Choose I must however, so I'm going with the infectiously poppy and pacey A Pink Dream. A sunny jumble of acoustic strumming, electric lead line guitar, crashing cymbals and Smith's euphoric vocals, this song sits firmly on a nexus between other hit Cure pop tracks like In Between Days, and Friday I'm in Love. Leaving this off the album was criminal.
Footnote: As I mentioned in the album overview, the problem with Wild Mood Swings such as there is one, is its three weakest tracks and Smith's choice of radio singles. If I were remaking this album I'd add B-Sides Ocean, Adonais, and A Pink Dream to replace Club America, Round and Round and Round, and Gone! I'd also include It Used To Be Me on the North American release; it was originally only on the Japanese cut of the album. My singles would be Want, Jupiter Crash, Mint Car and A Pink Dream.
Tier 1
After ten albums worth of reviews and recommendations, we've finally hit the crème de la crème of Cure albums. Each of these next five releases are essentially "no skip" records. If a space alien asked me to let her hear why I love The Cure, these are the albums I'd share with her. These releases represent Robert Smith and the band at the absolute height of their music powers, and as such I'll be sharing five tracks and a B-side where applicable per album for you to listen along with me.
5) Kiss Me Kiss Me Kiss Me (1987)
https://en.wikipedia.org/wiki/Kiss_Me,_Kiss_Me,_Kiss_Me
Having mastered blending pop hooks into moody, gothic style music on their previous record, The Cure's seventh release would see them break into the American mainstream. An uneven, at times disjointed double album, Kiss Me Kiss Me Kiss Me really feels like two separate records; one full of pop hits for radio consumption, and one darker eclectic mix for Cure purists. Both are excellent, but it was the pop tracks that won America's heart.
As gorgeous as The Cure's best pop songs are, very few people would ever accuse them of writing songs that make you want to jump up and dance, but Why Can't I Be You might be the exception that proves the rule. With a quick beat, a bombastic horn section and Smith's ever-so-slightly falsetto vocals, this track sounds like almost nothing else in The Cure's catalogue. A song about one-sided romantic obsession, I'd advise skipping the music video which has aged very poorly.
When it comes to creating songs that are simultaneously beautiful and heartbreaking, nobody does it better than The Cure and A Thousand Hours is a perfect example of that combination in action. Musically this track starts all nostalgic and wistful, built around strings, bass, and piano; but when Smith's plaintive, even wailing vocals kick in the song elevates to a state of aching hopelessness. If pained desperation could become a song, this is what it would sound like.
This next track, How Beautiful You Are is another example of Smith's use of literary allusion to tell a complete story in song; this time he's referencing the Charles Baudelaire poem "The Eyes of The Poor." A hidden gem, the song is built around deliciously jangling guitar, layered keyboards and a haunting synth-based "violin" solo. Thematically the track explores the idea of suddenly discovering the love of your life and presumed soulmate is a pretty horrible person.
While Kiss Me Kiss Me Kiss Me is loaded with delightful pop tracks, the album also features some of The Cure's most unique and challenging music; in that vein Like Cockatoos is a fan favorite you'll never hear on a radio. The swirling, aquatic keyboards, bird samples, and Smith's stream of consciousness vocal delivery are all held together by Gallup's stalking baseline and ominous percussion work by Boris Williams. The effect is haunting, claustrophobic and ethereal.
Described by musicians and critics alike as "the perfect pop song," Just Like Heaven is one of the most popular and influential tracks released by The Cure; when this song hit the airwaves, it literally changed modern music. Opening with a pacey drum fill, the song adds tight bass work, luscious synths, and unforgettable jangle guitar one at a time until Smith breaks in to sing a story of perfect love found and lost. I think this is the best song in the band's catalogue.
The singles on Kiss Me Kiss Me Kiss Me featured a stunning array of excellent B-Sides and there's at least four songs I could have chosen here. Ultimately however I decided to pick A Chain of Flowers because stylistically it's almost a perfect midway point between this album, and the work the band would produce on Disintegration two years later. A devastatingly sad track, Smith's aching vocals describe the fear of going on with life after losing someone you love dearly.
4) Wish (1992)
https://en.wikipedia.org/wiki/Wish_(The_Cure_album)
It's hard to believe now, but when this album was released a small but vocal portion of fans felt it represented The Cure "selling out" for mainstream U.S. success. Fortunately, Wish's introduction of the band to a new generation of fans and critical recognition of how great a record it is ultimately squashed that narrative. A guitar record that harkens back to ideas explored on Kiss Me Kiss Me Kiss Me, Wish shows a welcome maturation of The Cure's sound.
A lot of the tracks I've shared on this list are album openers, but none of them capture the overall mood of a record like Wish's first track, appropriately titled Open. An intense song about alcoholism, dissociation, and social alienation, this piece is all moody rhythm, and distorted guitars. The band also makes inventive use of constantly shifting melodies to destabilize the listener and really immerse you in the thematic waters of both the track and the album itself.
The most unique track on Wish, A Letter to Elise, is also one of the album's most beautiful songs. Heavily inspired by Kafka's "A Letter to Felice," Smith sings about ending a relationship despite desperately wishing he didn't have to. A song built around contrasts, the melancholic lyrics play off the bright guitars, both acoustic and electric, to create a wistful, dream-like sonic tableau. Of particular note here is the band's use of nested melodies and buried hooks.
Wish produced two unmistakably pure pop singles, and while Friday I'm in Love is catchier and more well known, I've always personally preferred High. One of the most unabashedly happy songs in the band's catalogue, the twangy guitars, walking baseline and unconventional percussion hint at Dream Pop influences while still retaining The Cure's unique sound. Lyrically, Smith ditches the pretension and artifice to sing about being madly in love with someone who delights you.
Although this album represents a drastic musical departure from Disintegration, songs like To Wish Impossible Things demonstrate that The Cure are still masters of cinematic, slow burn melancholy. Presaging the fascination with strings Smith would embrace on the band's next album, this lament for a relationship that has already ended tragically retains a warmth and wistful quality not always present on the band's songs about love and loss. Heart-shatteringly beautiful.
Given The Cure's musical output, it may surprise you to learn that Robert Smith's childhood guitar hero was Jimi Hendrix, but this influence is readily apparently on what I think is Wish's best track, From the Edge of the Deep Green Sea. Clocking in at over seven minutes, this song about sex and abandonment on the beach is a masterful combination of howling guitars, wailing vocals, and a steady driving rhythm section; the bleak crescendo in particular is worth the wait.
Wish is yet another album whose singles spawned six amazing B-Side tracks, any one of which I'd happily recommend. Given that I omitted the record's biggest pop hit (Friday I'm in Love) in the above selections, I'm going with the blissfully euphoric Halo here. A straightforward pop track about true love and fascination, the thick bass line and synth piano work make this a standout song that deserved to be more than a B-Side. This track never fails to make my heart soar.
3) Songs of a Lost World (2024)
https://en.wikipedia.org/wiki/Songs_of_a_Lost_World
After a sixteen year recording hiatus, The Cure returned this year with what I feel is their most mature and thematically coherent album since Disintegration. Dealing with themes of aging, loss, and mortality, this is not even remotely a pop record, and yet I think it's clearly some of the band's strongest work to date. Incorporating elements of shoegaze, space rock, and gothic music, this album is powerful, innovative, and truly unique.
On an album that's more of a complete listening experience than a collection of singles, the closest thing to a radio friendly track is probably A Fragile Thing. Expansive and atmospheric, the song features complex interplay between rhythm and melody; brooding bass, thumping drums, twinkling piano, and wailing but restrained guitar work match perfectly with Smith's longing vocals as he explores regret and the fallout from choices already made in a romantic relationship.
On the opposite end of the spectrum we find Endsong, a majestic, sprawling ten minute soundscape reminiscent of some of the least radio friendly tracks on Disintegration. The epic scale of this piece is only magnified by its six minute plus intro as ethereal synth work, smooth percussion, and luscious guitar meld into a musical effect that's as much vibe as it is song. Smith's introspective lyrics eventually complete the offering to create a timeless sonic masterpiece.
It would be a mistake to assume this record is another version of Disintegration, or Bloodflowers, but the song that would fit best on those albums is definitely I Can Never Say Goodbye. Written about the death of Robert Smith's brother, the song's soft and melancholic piano opening belies the dark layered atmosphere the piece grows into. Poignant without being melodramatic, this track's stormy intensity and raw emotional honesty are equal parts moving and cathartic.
I think you can argue the entire forty plus year distillation of The Cure's signature sound ultimately comes together on the track All I Ever Am; which thematically works with a song about aging, transformation, and regret. With keyboard work reminiscent of The Head on the Door, percussion refined from Pornography, slightly distorted guitars that harken back to Wish, and Smith's offbeat vocal delivery straight off Kiss Me Kiss Me Kiss Me, this song is all The Cure is.
Finally there is my favorite track on this album, Alone. This song sounds a like a Slowdive track filtered through the stylistic lens of The Cure; which is fine by me because I cherish both bands. Not shoegaze but gaze inspired, Alone is simultaneously celestial and melancholic; a gorgeous lament for innocence lost and passion spent. There is a sadness here but like the rest of the album this song is too epic and beautiful to be depressing. Smith's best work in decades.
2) The Head on the Door (1985)
https://en.wikipedia.org/wiki/The_Head_on_the_Door
Although The Cure wouldn't enjoy true commercial success until their next album, their sixth release is really where the band I grew to love was forged. It was at this point that Smith learned to craft pop hooks into his otherwise intense, gloomy, and emotion-laden songwriting and in doing so, essentially created a style of music some have called "gothic pop." This in turn would kick off a four album "imperial phase" that defines The Cure.
When I say The Cure are genre chameleons, the song Close To Me is a perfect example. With its bouncy beat, clapping, and synth organ, this track sounds like nothing else in the band's catalogue, and yet unmistakably retains a style unique to The Cure. A fun toe-tapper about Smith's childhood anxieties. Please note there are multiple mixes of this song available; the version in this memorable video features a horn section, but the track on The Head on the Door does not.
If this is the album where Smith put it all together and stamped The Cure's signature gloomy, layered style still laden with pop hooks, A Night Like This is probably the song that best exemplifies that evolution. Built around stormy guitar, chromatic piano scales, vibrant percussion, and Gallup's walking bass line, Smith sings about realizing a relationship he took for granted is truly over. I could live without the very 80's sax solo, but it was the style at the time.
Next up is one of my favorite songs in The Cure's catalogue and a true hidden gem, Six Different Ways. A song about the various personalities Smith affects, this quirky track is written in 6/8 time to showcase the talents of (then) new drummer Boris Williams. Combining multiple synth tracks emulating strings, piano, cello, a xylophone filter, and even a kalimba, this bouncy melodic song is deceptively complex. Strained, emotive vocals perfectly complete the arrangement.
Sometimes the hits are hits for a reason, and such is the case for the smash single In Between Days. Featuring New Order-esque bass lines, dreamy synthesizers, a snare and tom drum hook, and frenetic acoustic guitar strumming, this surprisingly danceable track features Smith lyrically cataloguing a breakup he regrets; from spiteful words uttered in anger to a desperate longing for the return of the romantic partner he chased away. The Tim Pope music video is great too.
For a guy who has gone on record saying The Cure never wanted to be a stadium rock band Smith sure writes a heck of a stadium rock song; which brings us to my favorite track on this album, Push. Built like a U2 song in reverse, this track's lengthy intro is all stadium percussion, rolling synth, and a twin guitar/bass riff until Smith's kinetic, joyful vocals kick in with cryptic lyrics the singer has said are about "being a girl." One of The Cure's finest songs overall.
The B-Sides from this album's singles are a very mixed bag, but there are two standouts in The Exploding Boy and this song, A Few Hours After This. Majestic and orchestral, this track sees The Cure experimenting with musical styles they wouldn't get back to until Wild Mood Swings; when they hired a real string quartet to do the concept justice. Smith's choppy but emotive vocal deliver perfectly fits this cinematic song about reuniting with a former crush one final time.
1) Disintegration (1989)
https://en.wikipedia.org/wiki/Disintegration_(The_Cure_album)
If anyone unfamiliar with The Cure only has time to listen to one record, this is the album they should choose. Not only is this the band's best record, but you can make a solid argument it's one of the best releases in the history of modern music. An absolute "no skips" record, Disintegration is built around lush, cinematic, and majestic songs featuring icy synthesizer textures and deeply layered, atmospheric soundscapes. Perfection in sound.
If I had to pick the essential song from The Cure's most essential album, I'd probably pick Pictures of You. Simultaneously expansive and intimate, this song showcases everything that makes Disintegration the band's best album, with crystalline synth work, driving baselines, bombastic percussion and Smith's wistful, melancholic and at times even haunting vocals. A song about love, loss, and memory, its lyrics were inspired by a fire that damaged pictures of Smith's wife.
On an album where Simon Gallup's bass work is secretly a defining feature, the track where this is best highlighted is clearly Fascination Street. With layered melodies, stadium rock percussion and Smith's constantly increasing vocal force, this track balances the atmospheric soundscapes on the rest of the album. Moody, menacing, even sinister, this song also stands out as a pure guitar riff driven track on a record where the synths are doing a lot of the heavy lifting.
It may seem strange to describe a song that's over nine minutes long as a tightly-crafted musical masterpiece, but that's exactly what The Same Deep Water As You is. Opening with a rainstorm sample and a distant thunderclap, this slow burn track is a sort of love song that seems to allude to an unhappy ending for the lovers, possibly by drowning. Despite this, lush synth work, methodical bass, and Smith's earnest vocals combine to create a seductive sonic experience.
While the musical landscape of Disintegration is mostly vast and expansive, one of the best tracks on the album is a stripped down minimalist song about night terrors, specifically Lullaby. Hypnotic and haunting, this song makes excellent use of sonic space to highlight each of its components; looping bass, melancholic strings, rhythmic guitar, constrained percussion and Smith's whispered vocals fashion a track that's simultaneously beautiful, dream-like, and unsettling.
Artistically, emotionally and thematically, I think the best song on this album is the title track Disintegration. Written at a time when Smith was seriously considering ending The Cure, this track is driving, desperate, and desolate all at once. Built around a haunting repeated arpeggio, layered synth chords and an ominous stalking bass line, this eight minute assault on co-dependency, contrivance and adulation sounds like it's physically painful to sing; because it is.
If I had to pick a favorite singles B-Side among The Cure's extensive list, I'd choose 2 Late. Packaged with the band's hit Lovesong, this track is a jangle pop masterpiece that Smith has acknowledged probably would have been a hit single, but wasn't included on Disintegration because it doesn't work thematically with the rest of the album. Gorgeous, euphoric, and extremely danceable, this song about yearning love highlights why then drummer Boris Williams was so great.
Prologue: Odds and Ends
As exhaustive as this ranking and sampling of every album in The Cure's discography has been, the truth is I wouldn't consider this project complete without also sharing the following six songs. From the band's two biggest radio hits, to movie soundtracks, and compilation albums, several of The Cure's most essential tracks didn't feature here at all. In the interests of completeness and sharing with newcomers who recently discovered The Cure, here's some bonus material.
It's not *yet* Disintegration, is it, even though it really *feels* that way right now. 
Getting to the *really* epic stuff and it shows. Comparisons? Inappropriate at this stage. Most of these are just masterpieces, each in their own realm.
Tricky, but I *had* to learn the lyrics after listening on repeat for who knows how many cycles.
I knew the bunny slippers would be appropriate attire. They always are. 
Almost 4 decades later and it still rips as if it came fresh out of the press. Amazing!
Who knows? Maybe some idiot stated they would never manage to produce an anthem and they just did it in order to piss 'em off? It sure has all it takes.
The experimantation was done. They were all rather confident with the synth stuff and suddenly using it with ease and purposefully, naturally integrated in the soundscape. If anything, that's also very typical for the time. Finally, all of it came together, matured and it shows.
@GNUmatic yeah, this whole album is note perfect; you couldn't change a thing without making it worse.
I wanna know what effects he used on his bass for "The Figurehead."
That sound always amazed me
That's where it's getting really hard to state it's the best Cure song ever. Which one of those "best songs ever"? Why precisely? Why choose? These are all so freaking good you just can't even think of choices any longer. These are iconic. All of them.
One of those late discoveries, but surely one I treasure the most. It simply never gets old or boring. Part of the reason probably are his vocals. You simply know when folks put all they are into it and Smith didn't hold back *anything*.
Easily on par with Joy Division's »New Dawn Fades« when it comes to *that*.
Yeah. You know you're talking about the icons of our youth when they've got hit singles, laying around casually as surplus, just because their albums were perfect "as is" already.
@AnarchoNinaWrites I love this song so much
@Npix3@mstdn.social@AnarchoNinaWrites Incredible how all the instruments blend so perfectly. One of my favourite.. It’s a piece of art.
@joenepraat@todon.nl@AnarchoNinaWrites This is my favorite track from the latest album.
Almost incomprehensible how »Alone« can possibly be on the same album, but then again it has to be. Otherwise it wouldn't be The Cure.
@GNUmatic I always save my favorite track for last. It's definitely coming.
I know. Impossible to leave *that* one out. Gosh! The magic!