Cure [Bonus DVD]

Cure [Bonus DVD]

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by The Cure
     
 

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Some years after announcing he was set to -- to paraphrase one of his songs -- go to bed once and for all, leaving the Cure on the shelf, Robert Smith has returned with a disc that not only lives up to the band's considerable legacy but furthers it considerably. Smith has been a palpable influence on generations of mope-meisters, including the current crop of emo… See more details below

Overview

Some years after announcing he was set to -- to paraphrase one of his songs -- go to bed once and for all, leaving the Cure on the shelf, Robert Smith has returned with a disc that not only lives up to the band's considerable legacy but furthers it considerably. Smith has been a palpable influence on generations of mope-meisters, including the current crop of emo purveyors, who could learn a thing or two from both the bracingly loud and gnashing "Us or Them," perhaps the most overtly modern-sounding tune on the self-titled disc, and the comparatively gentle "Lost," which swathes Smith's disoriented lyrics in a lurching acoustic swirl. Obsessions with doom and gloom still loom large over some songs here, such as "Labyrinth," a brooder that could have appeared on Seventeen Seconds, and the desperate-sounding "The Promise," which closes the disc with an increasingly frenzied soliloquy about death and those left in its wake. But as he did on many of middle-period Cure albums, such as Kiss Me, Kiss Me, Kiss Me, Smith leavens the mood here and there with disarmingly bouncy pop songs like the shimmering "Before Three." There's not enough sweetness and light here to worry longtime fans who prefer to accentuate the negative, but the balance between chiming notes and suicide notes is struck finely enough to establish The Cure as the band's most absorbing album in a decade or more.

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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
For a long time, maybe 15 years or so, Robert Smith rumbled about the Cure's imminent retirement whenever the band had a new album ready for release. Invariably, Smith said the particular album served as a fitting epitaph, and it was now time for him to bring the Cure to an end and pursue something else, maybe a solo career, maybe a new band, maybe nothing else. This claim carried some weight when it was supporting a monumental exercise in dread, like Disintegration or Bloodflowers, but when applied to Wild Mood Swings, it seemed like no more than an empty threat, so fans played along with the game until Smith grew tired of it, abandoning it upon the 2004 release of his band's eponymous 13th album. Instead of being a minor shift in marketing, scrapping his promise to disband the Cure is a fairly significant development since it signals that Smith is comfortable being in the band, perhaps for the first time in his life. This sense of peace carries over into the modest and modestly titled The Cure, which contains the most comfortable music in the band's canon -- which is hardly the same thing as happy music, even if this glistens in contrast to the deliberate goth classicism of Bloodflowers. Where that record played as a self-conscious effort to recreate the band's gloomy heyday, this album is the sound of a band relaxing, relying on instinct to make music. The Cure was recorded and released quickly -- the liner notes state it was recorded in the spring of 2004, and it was released weeks later, at the end of June -- and while it never sounds hurried, it never seems carefully considered either, since it lacks either a thematic or musical unity that usually distinguish the band's records. It falls somewhere between these two extremes, offering both towering minor-key epics like the closing "The Promise" and light pop like "The End of the World." It's considerably more colorful than its monochromatic predecessor, and the rapid recording gives the album a warmth that's pleasing, even if it inadvertently emphasizes the familiarity of the material. Which is ultimately the record's Achilles' heel: the Cure have become journeymen, for better and worse, turning out well-crafted music that's easy to enjoy yet not all that compelling either. It's not a fatal flaw, since the album is a satisfying listen and there's also a certain charm in hearing a Cure that's so comfortable in its own skin, but it's the kind of record that sits on the shelves of die-hard fans, only occasionally making its way to the stereo. [The Cure was also released in an edition with a bonus DVD, containing an 18-minute "Making of The Cure" video, which would have been far more interesting if it had actually lived up to its title instead of being a collage of in-the-studio footage scored to instrumental backing tracks.]
Rolling Stone - Rob Sheffield
Their most adventurous and pasionate [album] since Disintegration.

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Product Details

Release Date:
06/29/2004
Label:
Geffen Records
UPC:
0602498628683
catalogNumber:
000287000

Tracks

Disc 1

  1. Lost
  2. Labyrinth
  3. Before Three
  4. The End of the World
  5. Anniversary
  6. Us or Them
  7. alt.end
  8. I Don't Know What's Going On
  9. Taking Off
  10. Never
  11. The Promise

Disc 2

  1. Back On
  2. The Broken Promise
  3. Someone's Coming
  4. Credits/"Making The Cure"

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Album Credits

Performance Credits

Cure   Primary Artist
Perry Bamonte   Guitar,Group Member
Simon Gallup   Bass,Bass Guitar,Group Member
Robert Smith   Guitar,Vocals,Group Member
Roger O'Donnell   Keyboards,Group Member
Jason Cooper   Percussion,Drums,Group Member

Technical Credits

Perry Bamonte   Composer
Steve Evetts   Engineer
Simon Gallup   Composer
George Marino   Mastering
Robert Smith   Composer,Producer,Executive Producer,Audio Production
Roger O'Donnell   Composer
Jason Cooper   Composer
Stylorouge   Cover Art
Ross Robinson   Audio Production
Jordan Schur   Executive Producer
Daryl Bamonte   Executive Producer
Sian   Artwork
Russell A. Robinson   Producer,Executive Producer
Jesse Cannon   Programming
Bunny Lake   Executive Producer
Noosha   Artwork
Saranearly   Artwork

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