Por paradójico que resulte, este es el primer disco de The Cure que me ha enganchado y eso es algo emocionalmente potente. Songs of a Lost World se ha metido en mi y ha tocado muchas cosas, ha movido otras muchas y me ha emocionado todas y cada una de las veces que lo he escuchado, que son muchas. No es ya que se exprese de una forma clara, contundente y utilizando recursos que me llenan el espíritu, es que lo que dice, lo podría decir yo. It's all gone.
Escuchar a Robert Smith cantar cosas como “It’s all gone” o “I don’t belong here anymore” es fuerte, pero luego recuerdas que estás escuchando a una de las grandes British Intensas y que acaba de cumplir los 65 y le sigues el juego. También cantaba sobre tirarse de un barranco por amor hace 30 años y a nadie le parecía raro
really out of this world cuckoo bananas that dudes could take this long off and be older than my dad and put out a fucking sicko good record. rick beato put out some video this week saying that creativity dies after your thirties and id like to tell that wax figure jim jarmusch fucker to listen to this record and then delete his youtube channel.
I'll give it some more time to percolate but initial feelings after a few listens are very positive. I couldn't hum you a hook from this record, there's no radio single here, there's nothing catchy or sticky here. That sort of aesthetic would be wildly out of place and thematically inappropriate on Songs of a Lost World. Some of these snare drums sound like they're threatening to destroy the world, and some of those huge grinding bass tones are a hair's breadth from tearing the sky asunder. This album is a "put it on in the dark and sink into the boundless texture of it all" kinda deal. I dunno man, this grown up goth kid's happy to be sad… More
i think everyone can relate to the fear of mediocrity when a favourite band of theirs releases their first album in x amount of years, but this is insane, it's like they never stopped. wow.
To me this sounds like the perfect balance of their sound from Disintegration to Bloodflowers. Opener and closer are all-time classic Cure tracks. Today was a good day.
A heavy thing, but also a thing of beauty. This record conjures memories of previous works like Bloodflowers—slow, dragging, and full of melancholic despair and decay.
Maybe not the easiest way to enter The Cure‘s sonic universe, but once you‘re in, you will appreciate these epic and winding tracks even more.
I hadn't expected a new The Cure album in 2024, but here we are. And wow, was it worth it. I wouldn't call myself a diehard fan, but there are many songs I love, and both the album and song Disintegration remain among my all-time favorites. The Cure in 2024 takes on a tonal and deeply atmospheric vibe that is unmistakably them, but it's longtime bassist Simon Gallup's basslines that always cut through, and here they're on full display with the treble amped up and distorted. Of course, Robert Smith is the center here. His restraint on vocals that still sound as if he were two decades younger, and his songwriting, are sublime. This is an album to truly give… More
It took me a long, long time to make up my mind about this one and it felt like an exercise in adding heavy weights to both sides of a set of scales, with neither side tipping the balance.
On the positive side, we have Robert’s voice, which sounds incredible irrespective of his age. Then there are the tunes… some wonderful melodies that bury themselves in your head, especially A Fragile Thing. The lyrics are good too – the tone isn’t unexpected but there’s poignancy in I Can Never Say Goodbye that makes it hit hard and Endsong goes all out. The mood of SOALW is consistent, which you don’t always get with Cure albums; I like… More
Se ha repetido hasta la saciedad pero qué mérito que tiene sacarte de la manga un disco así a estas alturas del partido. The Cure no juegan a nada que no sea ser ellos mismos y el resultado es un disco precioso, oscuro y lleno de recovecos en el que perderse. Una auténtica joya que se abre con una de las canciones del año (Alone) y que no te suelta hasta que se acaba la catedralicia Endsong. Tela.
They must be aliens to come back like this not missing a beat. The rhythms and riffs hit harder and the topics are retrospective and wise not dissimilar to Bowie’s Blackstar.
Dares to ask the question: “What if one of those late era forever delayed legacy albums was actually really good?”
Early on my thought process was that I was really enjoying it, but if it was gonna keep doing the big atmospheric instrumental intros, I was gonna end up bored. It kept doing those. I did not get bored in the slightest.
I will admit straight up that I've only heard the first few Cure albums. The Cure was a band that I respected from a distance. I assumed that they were, like other bands of their era, making an album every few years and touring constantly. Rising the old highs and good will earned over the years.
I was wrong.
The Cure as it turns out still have things to say and in this album they still sound as youthful and restless as they ever have. This album could have any other band named attached and you might assume that it's the work of some hot new Gothic rock group about to break out, but it's the fucking Cure!
Non-fan of The Cure here, never listened to the records, don't know the history. This completely rules. Hits like Hum's INLET did in 2020. New fan of The Cure here.
Volver a lo que mejor sabes hacer puede verse como una involución, pero cosa distinta es cuando la inspiración acompaña. Temática potente y sonido deliciosamente familiar ya que este álbum suena como un destilado de lo mejor que encontrábamos entre las eras Disintegration y Wish, con un poquito de Pornography (esa tremenda Warsong). Robert así si.