Ticket 2 Ride

It’s been awhile (16 years) since we’ve had anything new from The Cure, so expectations were high for this album. Songs of a Lost World contains only eight songs and clocks in under 50 minutes, which had me concerned that The Cure might not be up for the comparison with past albums, primarily the classic, Disintegration.

In November 2024, Songs of a Lost World made its debut, and I’m only now writing a review. In fact, I only heard the album in its entirety the only day, and I was pleasantly surprised. This is a finely crafted album; one that delivers and doesn’t overstay its welcome.

Disintegration (1989) is the album all other Cure albums are compared to. A critical and commercial success, Disintegration brought The Cure new fans and popularity that main songwriter and frontman Robert Smith did not embrace. Jeff Apter, in his 2005 book on The Cure, quotes Smith as saying, “Despite my best efforts, (we) actually become everything that I didn’t want us to become: a stadium rock band.” Smith went on to talk about the collapse of that version of the band. “The family idea of the group really fell apart too after Disintegration. It was the end of a golden period.”

The Cure have been a difficult band to define through the years, which I believe has added to their allure and mix of fans. Smith has taken the songwriting from post-punk rock to gothic to psychedelia to indie to heavy metal to pop to points in between.

Even now, I have a problem figuring out how to define their sound. One review I read described the Cure’s music as “weary, melancholic and bleak, but beautiful.” The Cure’s subject matter is often gloomy, dark and focused on human mortality. One fan review said, “the new album has same slow-moving grandeur of Disintegration, delivered in deep, drawn-out, sweeping movements.” I totally agree; but the new album is not a copy or watered-down version of Disintegration. Yes, the music has many layers of guitars and keyboards, creating soundscapes that can be dense, foreboding and otherworldly. That coupled with the darkness of Smith’s lyrics, and his Edward Scissorhands’ hair and makeup look, and you wonder if this is a rock and roll version of Night of the Living Dead. But it’s not. This is music for grownups, rich in atmosphere, musical sophistication and vivid, emotional brushstrokes.

The band includes Reeves Gabrels (guitar) who is known for his work with David Bowie; Simon Gallop (bass) left the band for a few years, but has enjoyed a long run with The Cure; Jason Cooper (drums) has been with The Cure since 1995, he has outside gigs scoring films and working with such musicians as Steven Wilson and Noel Gallagher; Roger O’Donnell (keyboards) has had three tours with The Cure, working with the Psychedelic Furs, the Thompson Twins and his own solo projects; and Smith who wrote all the songs, sings the words, plays guitar and keyboards.

“Alone” leads off, an aching, mournful, yet totally captivating song nearly six minutes long. Smith’s vocal does not begin until halfway through the song.

“And Nothing is Forever” is about as close to a hopeful, love song as Smith writes. Upbeat musically, almost ethereal, Smith’s lyrics are of being together until the end.

“A Fragile Thing” has a more serious vibe, of possible lost love, very melodic but searing.

“Warsong” is very much a jagged, old school Cure song. Not especially dark, but still troubling in tone.

“Drone:Nodrone” Another pounding, noisy song with layers of swirling keyboard, distorted guitars.

“I Can Never Say Goodbye” how beautiful is this melody? Smith’s vocals show up about 2:30 into the song.

“All I Ever Am” has another beautiful melody, though it’s wrapped in heavy distorted guitar and layered keyboards. This song could have been on Disintegration.

“Endsong” at over ten minutes, the longest song on the album, closes out the album with a grinding progression of riffs. The song is not quite a classic in my opinion, but an effective musical journey.

This album is best enjoyed with earbuds or headphones, it has layers of sound that you want to fully hear and appreciate. A continuous listen is recommended, the songs are quite an enticing pallet. This is not a concept album but the songs fit together so nicely.

Robert Smith is 65 years old now and maybe his music has slowed down half a step; hard to tell by this album. Not many 65 years olds are rocking out like him, but the age scale has reset as Bob Dylan, Paul McCartney, Boz Scaggs, Frankie Valli, Herb Alpert, Willie Nelson, Buddy Guy, Dionne Warwick, Smokey Robinson, Mick Jagger, Ring Starr, Barry Manilow, Gloria Gaynor, Steve Miller, Gladys Knight, Patti LaBelle and others have hit or passed aged 80. Here’s to Robert Smith, keep it rocking!

This is one of The Cure’s best works and one of the best albums of 2024.