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I recently got myself a great vinyl version of this album. I already had it on CD, but the sound quality on vinyl is so much superior. It's one of those albums that you appreciate more over time. Initially, when I bought the CD, I wasn't too impressed, but now I love playing it loud. I'm glad I decided to spend a bit more to get the vinyl version. It's a fantastic addition to my collection.
This album is truly misunderstood and doesn't warrant the criticism it receives. It's an outstanding, powerful, and raw record. "Lost" is an incredible opener that's twisted, claustrophobic, and hypnotic, with a bassline that drills into your mind. "Labyrinth" continues that feeling but with a less minimalistic approach. Then comes the sun. "Before Free," starting with a charming "yeah, yeah, yeah," is likely one of the best The Cure songs that should have been a single but wasn't. "The End Of The World" showcases The Cure at their pop-rock best. I've always seen this as Bob's response to the early 2000s indie wave. "Anniversary" brings you back to the gloom. It's dark, intense, mysterious, almost like the Pornography-era Cure, but updated to the beginning of the 21st century. Then there's "Us Or Them." It's one of the most powerful, furious, and loud Cure songs ever. If I said "Anniversary" is the 21st-century take on the Pornography aesthetic, then "Us Or Them" is the 21st-century version of "Shake Dog Shake." It's fantastic. You just want to jump around furiously and scream the chorus along with Mr. Smith. Okay, the next three songs are rather mediocre, I admit. "Alt.End" has some potential, though. I feel like it could be a really great song, but it got way too polished and smoothed. It should sound as raw and angry as "Us Or Them." But actually, it sounds like they had another song in the style of "Us Or Them," but then suddenly decided to turn it into a pop song. It didn't work. It sounds better live, but still not powerful enough. "(I Don't Know Whats Going) On" is probably the weakest song here. It's not really bad, but it has nothing interesting to offer. It doesn't even last 3 minutes, but that's enough for me to get bored of it. I'd trade it for any b-side without hesitation. "Taking Off" is maybe a pleasant tune, but again, it has nothing new to offer, nothing to make me more interested. About "Never," I've always had mixed feelings. Some days I really enjoy it, and other days it's indifferent to me. I consider it a transitional tune from the lighter songs to the incoming climax of "The Promise." And speaking of "The Promise": wow. The way this song develops, how it slowly welcomes you into its story, and how it gradually turns into a thrilling madness. In my opinion, there's everything we love about The Cure in this song. I would love to hear it live someday. And after the storm, comes the chilling, yet very sad ending. Beautiful, typically Cure ballad of helplessness, hopelessness, being alone and miserable. Heartbreaking and amazing "Going Nowhere." Again, I'd love to hear them play it live.
I've got a sealed original US version that I'm open to swap, seeking only first pressings of Spiritualized, The Kinks, Blur, Pulp, Talk Talk, XTC. Message me!
I'm at a loss regarding the negative feedback about the audio quality of this vinyl release. To my ears, it sounds fantastic. Granted, the original recording isn't top-tier in terms of fidelity, but this pressing truly shines on vinyl. If you stumble upon it for a fair price, don't hesitate to grab it.
(chuckling) Robert Smith appears to have transformed from a melancholic high school student brimming with teenage turmoil, trudged through four years of university, and is now the wistful guidance counselor at the same institution, still dragging his feet down the hallways, naturally gravitating towards the art studios, yet fond of sprawling across the football field on balmy afternoons, convinced that there's no hope for anyone, that time mends all wounds, finding comfort in the fact that he can steer these kids in the right direction, unlike the rigid counselors who share his workspace. First off, this is a very loud album, with most of the synth layers replaced by a more guitar-driven sound, propelled by the drumming of Jack Cooper (yes, the same man who would later form half of Ultimate Painting), revealing the band’s early days, all while mysteriously keeping those pop-like visions from the Wish album, though perhaps without the excesses that defined Wild Mood Swings. All this makes the band sound leaner, more in the moment, yet still wrapped in the intricate layers of Smith’s insightful blend of death, sex, despair, and innocence yearning to be lost. The Cure delivers snappy lyrics that match the music beat for beat, it’s atmospherically dark, perhaps even grand, and (though I’m not yet certain of this) in its pursuit of salvation. Without a doubt, the album is brighter than Bloodflowers, far more dense than certainly Wish, where The Cure portrays Robert Smith as a visionary sorcerer's apprentice who resides in the overgrown, tattered gated house at the end of the lane, secretly orchestrating (yet more conjuring) another mad bout of infatuation and blissed-out angst. In many ways, The Cure comes off as an unapologetic reconciliation, though Smith never clarifies the systemic issue that brought him here, his desire to be reconciled, and who that person or persons is/are. This is a very ambitious step for the Cure, though in fact, it’s actually an ambitious step brought to light by Robert Smith, crafted with aspirations of wonder by the new bandmates who surround him. *** The Fun Facts: As for the album’s artwork, it was designed by Smith's nephews and nieces. The children were unaware that their drawings were to be used on the album. The drawings were supposed to represent a 'good dream' and a 'bad dream,’ one from each niece and nephew.
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