British goth-rock band The Cure released its newest album, “Songs Of A Lost World,” on Nov. 1 following a hiatus of over 16 years. It was released to massive acclaim and topped the UK charts, the first time The Cure had done so in 32 years.
Critics praised the album as “another classic to their already sterling catalogue,” a compliment measured by the band’s near half-century of history.
The band got its start in 1976 under the name Easy Cure but soon streamlined the name to The Cure, a decision made by frontman Robert Smith.
Smith, guitarist for post-punk band Siouxsie and the Banshees, has been the focal point of the band since its formation, and his obsession with minimalist sound and style defined the band’s early work. Notably, Smith is the only member to feature on every single one of The Cure’s releases.
The success of the debut single propelled The Cure into its first album release the next year. “Three Imaginary Boys” was released in 1979 to critical praise and catapulted the group into notoriety as a fountain of inspiration for the growing goth scene.
Future albums would take the somber vibes of The Cure’s debut even further. The group’s fourth album, “Pornography,” is considered to be one of the best rock albums ever made despite not finding much initial critical success. The album was steeped in a dreary post-punk sound, reminiscent of British rock contemporaries like Joy Division and Bauhaus, who are often cited as progenitors of the goth “sound.”
Taking the stage dressed in piercing black and sporting giant mops of ratty, dark hair, the cast of The Cure set the standard for a generation of goth attire. Smith himself disputed the idea that The Cure was a goth band, but conceded the influence that the gothic “sound” had on its work.
Smith argued that The Cure, as a band, is far more than just “gothic rock,” and the group proved it on the next release,“The Top,” even if it got a bad reaction from audiences and critics. The psychedelic album was a huge musical U-turn from a group accustomed to traditional rock instrumentation. Smith, who wrote most of the album by himself, even contributed violin, recorder and harmonica to the project.
The Cure’s later ‘80s albums, “The Head on the Door” and “Kiss Me Kiss Me Kiss Me,” would take a poppier approach and generate some of its earliest chart-toppers “Close to Me” and “Just Like Heaven.” The band’s last album of the decade, “Disintegration,” would prove to be one of its most important.
The album was met with overwhelming praise by consumers and critics alike, who still herald it as one of the best albums the group ever made. “Disintegration” marked a return to the “gothic” of “Pornography” with a maturity in sound and songwriting created by jaded life experience.
“[The theme of] ‘Disintegration’ is obvious,” Smith said to Far Out Magazine. “It’s my scream against everything falling apart, and my right to quit with it when I want to.”
The depressive and moody atmosphere of the album resonated with many, and its track “Lovesong” became the band’s only song to hit the top 10 on American charts.
The group continued to release albums throughout the ‘90s and early ‘00s but struggled to recapture the magic, or commercial success, of “Disintegration.” Its 1992 album “Wish” would spawn one of the group’s most formidable hits, “Friday I’m In Love,” but failed to chart in America.
The Cure’s consistent string of albums ended in 2008 with “4:13 Dream.” The album was met with positive reviews, but the band collapsed soon after.
During the 16-year gap, Smith toured with The Cure without releasing any new projects. This version of the band would eventually record “Songs Of A Lost World” and featured Smith along with bassist Simon Gallup, keyboardist Roger O’Donnell, percussionist Jason Cooper and guitarist Reeves Gabrels. In 2019, this group and five other former members of The Cure were inducted into the Rock & Roll Hall of Fame.
With the release of “Songs Of A Lost World” last week, the group dispelled any doubts about its future and cemented a legacy it has built for decades. Its quality is a testament to the artistry of the band itself, from the technical ability of each of the players to the timeless songwriting of Smith. The Cure has gracefully brought itself into the modern era and still yearns for more.
