The follow-up, 1992's "Wish," reached even higher, peaking at no. Yet it was nonetheless true. Was it the way a sideways glance could hint at humour? Then, this one's all about stewing, and with no real structure to speak of, it's like an intro that builds and builds until there's no need for verses or choruses. It’s monolithic, and most of the songs work the same way. There was Kiss Me Kiss Me Kiss Me, a 1987 double album that scatters in a lot of different directions. As this night showed, its peaks are impressive but its flaws are not easily wished away, or distracted from. Such is the power of these dozen songs — slow, dark, sensual ruminations on losing love and feeling washed up. It was a top 10 hit in the U.S. Whereas the other songs are spare and opaque, this one is fairly direct and overflowing with words. Disintegration a classic album? Here in the States, it managed only no. But then, it was from that point that the problems began to build even with this charismatic centre and the none-more-Cure elements of low-slung/high note bass and rising clouds of synthesisers given thrust by circular drum patterns. The album set ended on this less than ideal point, the room willing itself into believing this was a peak and offering another standing ovation, already anticipating an encore of some obscurities and some gems from the wider catalogue. The Cure ’s eighth studio album, Disintegration, turned 30 this week, and it’s safe to say there’s a consensus that this album is the band’s finest. After a while, Smith’s voice comes in, echoing calmly, surveying the ocean around him. Over the course of 9:19, there's not a whole lot of movement or variation, nor should there be, given that it's a song about sinking deeper and deeper into love affair that may have already ended, and that is definitely swallowing Smith whole. 12 on the Billboard 200 -— the Cure's highest chart placement to that point. This is something the band always did well: listening to their “many moods” pop records is like exploring a new city, where every storefront and side street offers something unique. Disintegration a great album? Such was his motivation for going off and writing much of "Disintegration" on his own. The 30 May performance will be live-streamed here, Available for everyone, funded by readers. A lot of them are mostly “intro”: The steady pulse of bass and guitar underneath, while glacially huge synth lines and liquid guitar melodies sparkle through the foreground. The trick, I think, is how well it serves as a soundtrack to that feeling that everything around you is meaningful, whether it’s beautiful or horrible or sublime: This is an album for capital-R Romantics, not sulkers. This is a kind of reach I doubt Robert Smith ever imagined. A whole lot of this album’s appeal is that it’s comforting, practically womblike—big, warm, slow, full of beauty and melody and even joy. Though not, you would have to say, for lack of trying by Robert Smith’s current lineup of longtime bassist and tattooed man of action Simon Gallup, drummer Jason Cooper, keyboardist Roger O’Donnell, and relative new boy of seven years, guitarist Reeves Gabrels. © 2020 Guardian News & Media Limited or its affiliated companies. For that is what underpins this run of five shows playing the 1989 Cure album from soup to nuts (with extras). Smith is working his way through a big old stack of photos and an even bigger pile of emotions, and as he lingers on each image, he savors the sweet, sweet sadness. Closedown and Love Song, the latter dogged in its optimism; the former springing surprising euphoria from the room on the back of those rising, rising drums, were expansive. "Pictures of You": If not for the nearly two-minute intro and 7:49 overall run length, this would have been a smash. Appropriately, a chill runs through the music, as those shimmering guitars heard on previous cuts turn suddenly shrill. He should be happy, but as we know, happy ain't his style. Last modified on Sat 25 May 2019 06.21 BST. Once copies of "Disintegration" started hitting CD trays and turntables, the skies turned grey and the rain began to fall, and sad boys and girls everywhere soaked it all up like sponges. 2, but "Disintegration" remains the Cure's best-selling LP, as well as the one people still talk about. Even Christmas is "flatter and colder" than it used to be. Indeed, "Disintegration" had "commercial suicide" written all over it, but it proved gloomy in all the right ways, climbing to no. No. Livestream Concert, Jack White Buys Busker a New Guitar After It Was Smashed by Passerby, Charlamagne Tha God Voices His Opinion On 50 Cent Endorsing Trump | Billboard News. He could have titled this "Hopefully Fighting the Devil" or "Gnawing My Heart Away Hungrily," two of the great phrases you'll miss if you close your eyes and get lost in the musical sweep. It’s not a record for the dead-inside: Get far enough into this album, and I will almost guarantee you will feel some shit. Despite its best efforts, the band cannot mask the fact that the original record has its fair share of flaws, Sat 25 May 2019 04.46 BST It's made countless all-time best-of lists, and 25 years later, it sounds like nothing in the band's discography -— or in anyone else's. The group's previous album, 1987's "Kiss Me, Kiss Me, Kiss Me," had reached a respectable no. "Fascination Street": Thanks to that surging bassline and whoosh of psychedelic guitar noise, Smith has the wind at his back as he cruises the titular thoroughfare, looking for his version of a good time. No one needs to hear this while driving a car. They’d always been good at this kind of album, too. On grounds of significance: for the band as it sailed past 3m copies worldwide; for a generation of fans who had been late to the early albums of pop-turned-gloom but discovered the joys of happy grimness; for a subsequent flow of bands that mined and expanded the material for goth pop and even a branch of neo-metal – yes, undoubtedly. 74, which isn't bad, considering it plays like a Tim Burton movie condensed into four minutes of eerie pop hypnosis. Was it his compelling solidity among the spinning lights and hyperactive Gallup? Keep reading for our track-by-track take on this melancholy stunner. It’s muscular (like on the title track), wistful (“Pictures of You”), ghostly (“Closedown”), seething (“Fascination Street”), and yeah, morose, but what’s striking is how each of those qualities can reach really, really far into your gut. Indeed, for a while it looked like they might just pull off the miracle of making the original record’s second side if not brilliant then at least kinetic enough to pull us through.
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