Even if you're in a band whose career spans almost 30 years, there is a first time for everything. This is the first time the Cure have released an album on Geffen instead of Elektra Records. After self-producing many of their albums, they handed over the reigns of producer to Ross Robinson, who has produced for the likes of Limp Bizkit and Korn. This is the Cure's one millionth album and it is also their first self-titled album. Just in the past year or so, there have been a couple of mishaps with self-titled albums that aren't debuts; Liz Phair and her inarguably sell-out self-titled album, and Phantom Planet and their garage-band wannabe self-titled album are among the many.
I haven't really gotten into their darker songs, because I'm a relatively new Cure fan. I was hoping for an eccentric "The Lovecats," a love struck "Friday I'm In Love," or a lovelorn "Pictures of You" on The Cure. There are some interesting flourishes, some pop love songs and some lovelorn lyrics here and there, but none of them amount to become one of their greatest hits. Even though the album is self-titled, it should not be bought to start a collection, but rather to complete one.
Apparently, the first sound on the record is Ross Robinson throwing a metal chair at Robert Smith. Who does Robinson think he is, throwing a chair at the front man of one of the most influential bands in the past two decades? Smith has admitted in several interviews that Robinson would push him on the vocals so they would be perfect; Robinson's mission was accomplished, because Smith's vocals are right on target. However, it's so perfect at times Smith's signature "ow's," "yeah yeah's," and other nonsensical noises sound a little forced. "Before Three," along with "Taking Off," and "(I Don't Know What's Going) On," are nevertheless wonderful little pop ditties with Smith's passionate singing still intact despite the passing of the years.
I distinctly remember the Cure performing "Lost" at HFStival. For those who don't happen to know what HFStival is, it's an annual concert hosted by a local radio station that rounds up a bunch of big name bands and buzz bands. Smith looked truly lost in front of the eyes of the frat boys, stoners, prepubescent kids, middle-aged people, and Cure fans as grotesque colors reflected off his sickly pale face. On "Lost," Smith's warbling initiates the song in a sea of discordant tones, but the intensity increases as his vocals become tempestuous. They also played "The End of the World," but I don't remember it as clearly as "Lost;" honestly, I didn't like it the first time I heard it, which was actually that very night. After listening to the entire album, I realized that the song would be the most successful on mainstream radio. It has light lyrics and a nice enough pop melody to catch the ear of someone breezing through radio stations.
"Anniversary" seems to build up to something exciting, especially when Smith voice swells as he sings, "and I hold you and I kiss you/and I never let you go." However, those are the last words he utters as the track fades out and thus there is no explosive anything to satiate the anticipation. The track sounds like a song that might appear in your next nightmare with its chilling synths and droning guitars. In "Alt.end" the guitar riff is charming and the piano flourishes are a nice touch. The lyrics are bleak as Smith tries to end a tumultuous relationship refusing to give it "another go around."
When I first heard that Ross Robinson was going to produce the next Cure album, I was skeptical. In the end, however, he did a fairly good job trying to bring the best out of them. It doesn't really matter who produces a Cure album, because the Cure will always shine through.
