![]() As early as 1980, the band was already crafting desolate, despairing songs-and composing the nearly half-hour-long drone piece, “Carnage Visors”, to accompany 1981’s “ Faith” but they would perfect it on 1989’s “ Disintegration”. ![]() While it’s important to dispel the myth that The Cure works in a mopey mode, it’s just as imperative to approach that material head-on. So how does one get into The Cure, a band who has a catalogue that’s not just vast, but full of worthwhile material? And how does one make sense of a discography that includes everything from goth to pop and post-punk to psych? The only way to understand The Cure is to embrace the twists and turns of their discography, knowing that if one part of their sound doesn’t appeal to you, there’s another half-dozen that may. Though his art may skew toward the self-serious there’s more to The Cure than what a cursory glance would reveal. Though it should be obvious from the existence of songs like “Friday I’m in Love,” “The Lovecats,” or “Doing the Unstuck,” there’s a joyful giddiness undercutting much of frontman Robert Smith’s work. On the surface, a Cure record may come across like a wall-to-wall mope fest, and while there’s truth in that, it’s not the totality of the band’s being. ![]() ![]() A hidden challenge when getting into The Cure is denouncing the stereotypes that have long followed the band. ![]()
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