Cure CD

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
The Cure: Robert Smith (vocals, guitar); Perry Bamonte (guitar); Roger O'Donnell (keyboards); Simon Gallup (bass guitar); Jason Cooper (drums).
For a long time, maybe 15 years or so, Robert Smith rumbled about the Cure's imminent retirement whenever the band had a new album ready for release. Invariably, Smith said the particular album served as a fitting epitaph, and it was now time for him to bring the Cure to an end and pursue something else, maybe a solo career, maybe a new band, maybe nothing else. This claim carried some weight when it was supporting a monumental exercise in dread, like Disintegration or Bloodflowers, but when applied to Wild Mood Swings, it seemed like no more than an empty threat, so fans played along with the game until Smith grew tired of it, abandoning it upon the 2004 release of his band's eponymous 13th album. Instead of being a minor shift in marketing, scrapping his promise to disband the Cure is a fairly significant development since it signals that Smith is comfortable being in the band, perhaps for the first time in his life. This sense of peace carries over into the modest and modestly titled The Cure, which contains the most comfortable music in the band's canon -- which is hardly the same thing as happy music, even if this glistens in contrast to the deliberate goth classicism of Bloodflowers. Where that record played as a self-conscious effort to recreate the band's gloomy heyday, this album is the sound of a band relaxing, relying on instinct to make music. The Cure was recorded and released quickly -- the liner notes state it was recorded in the spring of 2004, and it was released weeks later, at the end of June -- and while it never sounds hurried, it never seems carefully considered either, since it lacks either a thematic or musical unity that usually distinguish the band's records. It falls somewhere between these two extremes, offering both towering minor-key epics like the closing "The Promise" and light pop like "The End of the World." It's considerably more colorful than its monochromatic predecessor, and the rapid recording gives the album a warmth that's pleasing, even if it inadvertently emphasizes the familiarity of the material. Which is ultimately the record's Achilles' heel: the Cure have become journeymen, for better and worse, turning out well-crafted music that's easy to enjoy yet not all that compelling either. It's not a fatal flaw, since the album is a satisfying listen and there's also a certain charm in hearing a Cure that's so comfortable in its own skin, but it's the kind of record that sits on the shelves of die-hard fans, only occasionally making its way to the stereo. ~ Stephen Thomas Erlewine
Although rumors of the Cure's demise circulated after 2000's BLOODFLOWERS, and even frontman Robert Smith claimed the group was finished on numerous occasions, the revered post-punk band remained united, and released this self-titled album in 2004. Expertly timed to follow the excellent JOIN THE DOTS rarities box set and ride a wave of adoration from hip, younger bands, THE CURE marks a new chapter for the goth-rockers, while incorporating many of the quartet's key sonic elements.
Though Smith doesn't seem inclined to write lighter pop ditties on par with "The Lovecats" or "Let's Go to Bed," he's still happy to pen gloomy, distortion-filled rock songs and atmospheric mood pieces. Marked by tinges of Middle-Eastern music, the slowly building "Labyrinth" hearkens back to the band's gloriously bleak 1982 album, PORNOGRAPHY. Co-producer Ross Robinson (Korn, Slipknot) makes his presence known by amping up the guitars, most notably on the reverb-heavy "Before Three," the fierce "Us or Them," and the epic closer "The Promise." Of course, Smith can't resist the occasional upbeat melody, particularly on the dynamic single "The End of the World" and the buoyant, keyboard-drRolling Stone (p.128) - 4 stars out of 5 - "The Cure are on a roll these days, and the new album is their most adventurous and passionate since DISINTEGRATION."
Rolling Stone (p.142) - Included in Rolling Stone's Top 50 Records Of 2004 - "[Smith] turns up the guitars and wails in the sumptuous bathos of gems..."
Spin (p.103) - "[T]hey rock like the hair-raising live band they've become since the current lineup stabilized nine years ago." - Grade: B
Entertainment Weekly (p.86) - "[N]ewly vibrant music....The Cure have a few stomps left in them." - Grade: B
Q (p.107) - 3 stars out of 5 - "The opening tracks are highlights of their recent career..."
Uncut (p.90) - 4 stars out of 5 - "The freshness of Smith's songwriting, combined with Robinson's intense production techniques, make THE CURE an invigorating and occasionally breathtaking experience."
Uncut (p.76) - Ranked #47 in Uncut's "Best New Albums of 2004" - "[I]t's anguished and raw, with distorted guitars squalling around Smith's howls of discontent."
Mojo (Publisher) (p.87) - 3 stars out of 5 - "[H]e's bought a harmonium. It's used to spellbinding effect....Once in a while the old JoJo returns to surprise us."