Artist: The Cure
Album: Songs Of A Lost World
Year: 2024
Genre: Alternative / Goth Rock
As I find myself at a juncture in life where the years behind me outnumber those ahead, I’ve unwillingly realized and only slightly accepted how heavily the uncontrollable gift of time weighs on our emotions and that the further we travel on this journey the less of everything time has to give us. The adage “timing is everything” is real and truly governs our joy and sorrow. Believe me, I am absolutely aware of how a statement like that sounds when introducing a new record by The Cure; darker side of life bullshit, whiney “life is so bad” garbage, typical goth “I’m so sad” stuff, blah, blah, blah. Just mere existential musings over the hardships of life. No, it’s not that. It’s deeper. I know it’s been 16 years since The Cure put out a record, but, for me, Songs Of A Lost World reflects the experiences and emotions that have unfolded in my life since the pandemic. This is about to get personal. I still haven’t fully processed the loss of dearly beloved, prominent family members that have left an indelible mark on my heart. I am witness to the gradual mental and physical decline of another dearly loved family member. I now have what feels like irreparable separation from family I’ve known since my birth. The world has developed into a place of uncertainty which causes me to question why I brought children into it. Most recently, I have watched progress come to a halt in my country as a deplorable human with zero moral fiber coupled with histrionic and narcissistic disorders was once again elected to lead the free world. These disheartening experiences only amplify my reflections on time, loss, and the state of our planet. When I use music as a means of catharsis, it frequently mirrors my current emotional state. As related to the issues listed above, Songs Of A Lost World may not be the album I wanted from The Cure, but it may be the album I needed.
When The Cure is mentioned, anyone even remotely familiar with the band immediately conjure images of the legendary front man distinguished by his wild hair and makeup streaked from what looks like tears. Their memories go to songs saturated with overpowering emotional depth and layered instrumentation that create a vast backdrop for lyrics that often teeter on the edge of despair and heartache. Even their radio friendly songs contain undertones of cynicism and gloom. After 45 years of releasing music, The Cure stands as a seminal and pioneering figure in gothic and alternative rock and as one of the most respected and influential bands in the world.
Songs Of A Lost World is the band’s 14th full length release and embodies their identity as perceived by the casual listener. Initially slated for release in 2019, it is an expressive reflection of Robert Smith’s hopelessness he experienced at that time revolving around the death of his mother, father and brother. As time has passed, it seems that he has begun to concentrate on his own mortality and what it signifies for him personally. Not since the Faith album has the band so deeply embraced their dejected tendencies in every song. “And Nothing Is Forever” profoundly demonstrates the heart-wrenching spirit found throughout this album. All the lyrics carry some heavy weight to them and are perfectly reflected in the music. The sentiment in “I Can Never Say Goodbye” resonates so deeply that it’s difficult keeping them separate from my own experiences. The Cure has consistently guided their audience through somber and shadowy pathways, but would lift the listener out of the murkiness from time-to-time with pop-oriented tracks providing moments of levity and balance. This doesn’t exist on Songs Of A Lost World. Although, songs such as “Drone:Nodrone” and “All I Ever Am” have the bounce and energy reminiscent of their other pop sensations, both songs lean more towards “The Hanging Garden” than they do their MTV hit “High.” Robert Smith has always been able to find middle ground between lowkey tenderness and noisy angst. This time, the addition of Reeves Gabrels, who has been part of The Cure since 2012 but hasn’t previously recorded with the band, has taken the guitar wall-of-sound to My Bloody Valentine levels on certain occasions; almost to a point where there is not a discernable guitar riff, yet Smith continues weaving his vocal melodies over the beautiful chaos.
Simply put, I am loving Songs Of A Lost World
and think that this is their strongest release since 1992’s Wish. A bad Cure album does not exist. Rather, there are those that dig a bit deeper
with me more than others. There is
nothing wrong with any of the albums released after Wish, but Songs
Of A Lost World distinctively rises above their 1996-2008 output. When it comes to The Cure, my fascination
with them always leans toward the dark, broody, bleak side of their music, and
this record delivers that in droves. For
the third time in just months, my 2024 album of the year may have changed.
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