This is the end of every song that we sing
The fire burned out to ash and the stars grown dim with tears
Cold and afraid, the ghosts of all that we've been
We toast with bitter dregs, to our emptiness
Welcome back, Cure! After a full 16 years of waiting, Songs of a Lost World shows that Robert Smith and company have no intention of changing to follow trends. Instead, their music continues to resonate with the dark and furious strength that has always defined them.
The arrangements, powerful and proudly “out of style,” are a testament to their loyalty to an unmistakable and timeless sound. The tracks are long, often eight minutes, with instrumental intros that feel like a slap in the face to the bad habit of throwaway pop tunes with choruses mere seconds into the song.
Already the opening track, Alone, which previewed the album's release at the end of September, with its long instrumental intro, dark sound, and melancholy melody, confirms the band’s exceptional form, born in the late '70s, during the post-punk era.
The album stands as a manifesto, a declaration of style (and substance) that seems to say, “We’re back, and we won’t bend.” At times it borders on symphonic rock, solemn and powerful.
The guitars, enhanced by the mastery of Reeves Gabrels (long-time guitarist with David Bowie), cut with sharp depth, while the drums hammer with precision and intensity, lending the sound a no-compromise quality.
For long-time fans and those primarily seeking authenticity, Songs of a Lost World is a precious gift. Welcome back, Robert Smith, welcome back, Cure!
