A majestic - and long-awaited - return...
"Article published in Clash Magazine. Author: Sam Walker-Smart."
After a wait that’s bested the notorious 14-year-long gestation of Guns N’ Roses ‘Chinese Democracy’, British icons The Cure have returned with their first studio material since 2008’s ‘4:13 Dream.’ A taste of their forthcoming fourteenth album ‘Songs Of A Lost World’ (releasing November 1st), ‘Alone’, had been roadtested on the band’s 2022/23 tour, with fans eagerly awaiting a polished version. So, on first listen, where does it stand? Amongst the melancholy genius of the outfit’s 80s work or the more kinetic and direct-sounding material of the noughties?
Luckily for listeners, it’s the former. With a title like ‘Alone,’ it’s no surprise that the single sees the band at their introspective best. Testament to The Cure’s generation-spanning appeal has been the feverish desire for more material despite the band’s forty-five-year lifespan. In recent years, frontman Robert Smith has mentioned difficulties in trying not to repeat himself lyrically, to find words with the same potency and honesty he’d produced in the past. Recent years have sadly seen the loss of Smith’s parents and brother as well as the curation of the 2018 Meltdown festival, events that have helped the songwriter tap into that deep well of emotion and creativity from which The Cure has built their legacy.
Today, Smith mentioned how ‘Alone’ was ‘…the track that unlocked the record,’ and it’s easy to see why. At nearly seven minutes in length, the band builds the mood for over three minutes until a word is sung. Jason Cooper’s snapping snares drive things forward as Roger O’Donnell’s twinkling key lines and atmospheric synth chords add to the dreamy mood. Instantly, we’re harking back to the melancholic grandeur of both ‘Disintegration’ and ‘Bloodflowers,’ albums happy to take their time to build their worlds.
‘Alone’ also marks Reeves Gabrels’ first studio contribution, with the veteran guitar slinger adding beautiful textures around Robert’s trademark baritone bass lines. Of course, The Cure wouldn’t be the legends they are without Mr. Smith’s vocals, and despite now being in his mid-60s, his vocals are bizarrely ageless. Seriously, give ‘Alone’ a blast, then listen to ‘Wish,’ no change. The frontman is in fine form, howling into the abyss about ghosts, bitter dregs, and, naturally, love. It’s a behemoth of emotion, made only more powerful with age and loss.
It is to get carried away in the excitement of long-awaited new material, and as CLASH’s resident Curehead, one could easily fall victim to hyperbole. Still, we’re happy to declare ‘Alone’ as some of the best material since the early nineties. While ‘Bloodflowers’ is nothing to sleep on, there’s already a drive, a longing apparent on this ‘Songs Of A Lost World’ cut that elevates things to another level. This is a stunning return that makes us more excited for the whole package.
Commenti