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The Cure Creates an Unrelentingly Sad and Singular Universe on ‘Songs for a Lost World’: Album Review
Sixteen years after the last Cure album, Robert Smith has created an unrelentingly serious and sad work unlike anything his band has done in the past.
If I told you 40 years ago, when the Cure was in the midst of its new-wave wonder moment, that the band would craft an inventively elegiac epic like “Songs for a Lost World” — a singular record worthy of face-soaking tears — you would have broken my teasing comb and melted down my Kohl eyeliner. While the initial three songs of “Lost World” are awash in open-faced piano and smoldering synth, courtesy of longtime Cure keyboardist Roger O’Donnell, “Warsong” and “Drone Nodrone” give way to the rackety guitars of Reeves Gabrels. Known first from Bowie’s four-way democracy Tin Machine, the guitarist has worked with Smith since 1997 — although “Lost World” is Gabrels’ first full Cure album — so there’s something both lived-in and newly amorous and clamorous about the fresh guitar sounds on these last two tracks.
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