Songs of a Lost World: Worth the Wait?

In the two months since we have provided an update here, lots has transpired relative to new underground rock releases. Firstly, we do implore you to listen to the latest records from both High Vis (Guided Tour) and Drug Church (PRUDE), as both records are great documents of both bands further fleshing out their respective sonic characters with a strong crop of new material. While both of these records have occupied a portion of our interest level in new releases, the majority of our efforts have been focused towards following The Cure’s expansive rollout of Songs of a Lost World, the group’s first new studio LP in sixteen years. When we last checked in with you all, the band had only begun teasing portions of what went on to become the album’s lead single and opener (“Alone”). If we had known what this album would become/represent in the wider pantheon of The Cure’s legacy, it would have proven to be a tougher subject to cover.

Reality is, Songs of a Lost World represents the end of an era for The Cure, but not their career. Robert Smith has confirmed the group plans to play live extensively and potentially release another album before the band's ultimate demise in 2029, which will mark 50 years since the release of the band’s 1979 debut, Three Imaginary Boys. Knowing this all, Songs of a Lost World plays out not as a goodbye, but a cognitive realization of where Robert Smith finds himself decades into his band’s career. Lyrical themes of reflection, aging, and loss may seem like standard fanfare for The Cure, but Smith wholeheartedly embraces these themes on Songs of a Lost World with fantastic new material and perspective. We will not be diving deep into lyrical content ourselves, as Smith has openly discussed his lyrical intent via a nearly two-hour interview which we recommend viewing. Beyond the significance of being a new release, deep into a well-beloved catalog in the sphere of alternative music, how exactly does Songs of a Lost World fit into The Cure’s story?

Admittedly, we were a bit unsure what to expect upon first listen. While the band’s work throughout the 80s and early 90s speaks for itself (Imagine making sheer post-punk classics for the first third of your career, only to further evolve those sounds and concepts to produce Disintegration?! Neither can we), much debate and contention comes when discussing the band’s run of albums throughout the 2000s. Though 2000’s Bloodflowers has its share of supporters (hello!), 2004’s self-titled and 2008’s 4:13 Dream have often been critiqued for being victims of self-parody and half-baked material. While spending time debating the vitality of records produced some 20 years ago seems daunting (especially considering we have a new album to discuss), one thing that is uncontestable is The Cure’s miraculous ability to always deliver some of the best live shows around. Headed into Songs of a Lost World, we personally wanted a batch of songs that embraced and captured the connection Smith & bassist Simon Gallup have developed with the band’s modern incarnation (guitarist Reeves Gabrels in particular, making his first full studio album contribution with Songs of a Lost World).

Having listened to Songs of a Lost World many times in full, were The Cure able to both fulfill our desires as listeners and create a new body of work that is worthy of feature among their acclaimed back catalog? Yes. Unquestionably, yes.

Singles “Alone” and “A Fragile Thing” keyed us into the Disintegration-esque atmosphere that Songs of a Lost World has going for it. The waves of sound provided by “Alone” are authentically reminiscent of “Plainsong”, while the comparatively structured nature of “A Fragile Thing” comes across as a matured take on “Lovesong”. Comparisons aside, both singles are the sound of a band that has gelled into an indestructible/inseparable gang. Similar to The Cure at their arguable live peak (1993’s Show), the sixteen years that were spent playing live prior to Songs of a Lost World has enabled the modern incarnation of the band to play and write with the same level of confidence and nuance as decades prior. Truly incredible, this is!

“And Nothing Is Forever” sees the band reaching into their most cinematic capabilities, which has historically produced some of their most awe-inspiring moments (“One More Time”, “Sinking”, etc.). “And Nothing Is Forever” is worthy of existing amongst their best, via its gorgeous string arrangement and Smith’s impassioned vocal performance. Now 65 years old, Smith’s vocals on record sound as good as ever. Gone are the overtly angsty performances from 2004’s self-titled album… Smith truly sounds at home with this new material! Even when the album leans into heavier aspects of The Cure’s sound with “Warsong” and “Drone:Nodrone”, Smith flawlessly pivots his delivery to fit what these songs necessitate. “Drone:Nodrone” comes across similar to some of the more intense moments on Wish, much credited to the explosive leadwork of Reeves Gabrels. For his first album-length contribution to The Cure, Gabrels makes his contributions felt across the record in a welcoming way! “Warsong” is the closest you will get to a Pornography-era Cure song in 2024 without traveling back 40 years, which is miraculous considering how different of an entity The Cure is in 2024. 

“I Can Never Say Goodbye”, “All I Ever Am”, and sprawling closer “Endsong” are the most emotionally poignant and immediately consuming moments of Songs of a Lost World. Smith’s reflection on personal loss and modern-day existence are clearest on “I Can Never Say Goodbye” and “All I Ever Am”, while epic “Endsong” sees Smith riffing on the world in which he and his band exist in presently. While speculation of this LP being the band’s last loomed in the lead-up to its release, “Endsong” appeared to be the potential epitaph for the group. However, knowing the band plans to forge on for the next five years, “Endsong” is more of a defining statement from Smith on his attainable future as an artist and human being. While the world both he and The Cure exist in has significantly changed since their formidable years, there is still relevant work to be done and music to be made. 

If any evidence besides the quality of Songs of a Lost World is needed to justify The Cure’s modern existence, we implore you to watch the album’s release show from The Troxy in London. A note-perfect rendition of Songs of a Lost World in its entirety pairs perfectly with a near two-hours of beloved material from previous albums. While it may seem insane to call The Cure a “vital” group decades past their initial impact, we are happy to report this is indeed the case.

Songs of a Lost World is available everywhere now. Cherish it.