As we gear up for the release of *Songs of a Lost World*, the Cure’s first album in 16 years, we’ve taken a moment to reflect on the band’s unique ability to blend light and dark in their music. Here are some of their standout tracks that showcase this remarkable talent.
**Catch (1987)**
Although often overshadowed by the pop masterpiece “Just Like Heaven” from *Kiss Me, Kiss Me, Kiss Me*, “Catch” possesses its own charmingly chaotic spirit. With pattering drums, violin, and surprising bursts of wah-wah guitar, it feels almost as if it was captured live, while Robert Smith’s vocals give the impression of being recorded in a dreamy haze.
**The End of the World (2004)**
The Cure’s self-titled album from 2004 might not have won much love due to its length and unevenness, but it features at least one classic that needs no further explanation. Despite its ominous title, the song showcases the band’s sweetest and most straightforward side, with an infectious leap from verse to chorus.
**10:15 Saturday Night (1978)**
This track established Robert Smith as the embodiment of post-punk disillusionment, capturing that quintessentially British suburban angst—glumly reading a Penguin Modern Classic while everyone else is at a party he didn’t get invited to. While nothing happens except for a dripping faucet, its eerie allure creates a compelling psychodrama.
**The Last Day of Summer (2000)**
In *Bloodflowers*, the final installment of a trilogy that includes *Pornography* and *Disintegration*, Smith expressed pride in his work. Though it may not reach the dizzying heights of its predecessors, this meditation on aging and loss resonates deeply and thematically anticipates the forthcoming *Songs of a Lost World*.
**Three Imaginary Boys (1979)**
Like many debuts, *Three Imaginary Boys* has its rough edges, yet its title track stands out magnificently. It marks a transition away from the spindly new wave of songs like “Object” and “Grinding Halt” into more atmospheric realms, highlighted by a fantastic, angsty guitar solo.
**The Love Cats (1983)**
Before “Friday I’m in Love” took the spotlight, “The Love Cats” was the Cure’s most recognizable track—a whimsical, Aristocats-inspired effort that aimed to upend the band’s mythos and became a surprising hit. Smith later dismissed it, but history has proven him wrong.
**Close to Me (1985)**
Tim Pope’s innovative music video for “Close to Me” reached its peak with the band crammed into a wardrobe that tumbles off a cliff, perfectly matching the song’s claustrophobic yet catchy vibe.
**Alone (2024)**
With some uncertainty surrounding the standard of recent Cure albums, there was palpable trepidation leading up to their first single in 16 years. However, “Alone” emerged as a triumph—powerful, elegiac, and profoundly moving—signaling an impressive return to form for the band.
**In Your House (1980)**
On the album *Seventeen Seconds*, “10:15 Saturday Night” encapsulates a sense of ennui that seems to envelop the entire project. This uniqueness shines through in “In Your House,” which remains both morose and hypnotic.
**A Strange Day (1982)**
Often noted as the poppiest track from *Pornography*, “A Strange Day” carries a haunting melody alongside a melancholic atmosphere, painting a picture of impending doom in an astonishingly beautiful way.
**Lovesong (1989)**
Perhaps the most curious afterlife belongs to “Lovesong,” which has been covered by artists ranging from Adele to hard rockers Jack Off Jill. The song’s simple yet profound declaration of love continues to resonate, and during a Hollywood performance in 2023, Smith charmingly sang it to his wife.
**The Caterpillar (1984)**
Beginning album sessions with magic mushrooms led to the intriguing psychedelic sound of *The Top*. The lead track, “The Caterpillar,” offers a delightful blend of goth and acid folk, which stood out in a music scene dominated by acts like Lionel Richie.
**All Cats Are Grey (1981)**
Marc Almond once labeled “All Cats Are Grey” as the perfect ecstasy record. Its understated melody and ethereal synths provide a fleeting warmth amidst the chilly tones of the *Faith* album.
**A Night Like This (1985)**
Dating back to 1976 and embodying the shift that propelled *The Head on the Door* into international success, “A Night Like This” features somber lyrics balancing its oddly uplifting chorus.
**Just Like Heaven (1987)**
While *Kiss Me, Kiss Me, Kiss Me* is a musical tapestry, “Just Like Heaven” shines as its crowning jewel, showcasing the Cure’s pop sensibilities through its cascading guitar lines and breezy melody.
**Pictures of You (1989)**
Inspired by Smith saving photos of his wife from a fire, “Pictures of You” radiates a poignant sense of melancholy. Its beauty and upliftment are accentuated by its languid pace, taking nearly a third of the track before the vocals begin.
**Boys Don’t Cry (1979)**
With its Buzzcocks-inspired bittersweetness, “Boys Don’t Cry” stands as one of the Cure’s most enduring tracks. The cultural impact it had is undeniable, influencing films, novels, and even inspiring numerous covers, while it remains a favorite among fans, including Andrew Ridgeley of Wham!.
**One Hundred Years (1982)**
This powerful piece thrusts listeners into the dark and harrowing world of *Pornography* through its punishing rhythms and nihilistic opening line. It’s both distressing and cathartic, continuing to astonish decades later.
**In Between Days (1985)**
Smith’s ambivalence toward his pop talent is evident, believing that darker themes matter more. However, the interplay of light and dark is what defines the Cure, and “In Between Days” demonstrates this fusion beautifully through its jubilant music paired with despondent lyrics.
**A Forest (1980)**
With countless remarkable songs in their catalog, curating a list of the best is almost subjective. Yet, “A Forest” holds a special place in the hearts of fans and has been performed over 1,000 times live. Its urgent atmosphere, haunting soundscape, and remarkable power make it an enduring favorite.
*Songs of a Lost World* hits shelves on November 1.
