Cure Disintegration

Expanding the latent arena rock sensibilities that peppered Kiss Me, Kiss Me, Kiss Me by slowing them down and stretching them to the breaking point, the Cure reached the peak of their popularity with the crawling, darkly seductive Disintegration. It's a hypnotic, mesmerizing record, comprised almost entirely of epics like the soaring, icy "Pictures of You." The handful of pop songs, like the concise and utterly charming "Love Song," don't alleviate the doom-laden atmosphere. The Cure's gloomy soundscapes have rarely sounded so alluring, however, and the songs - from the pulsating, ominous "Fascination Street" to the eerie, string-laced "Lullaby" - have rarely been so well-constructed and memorable. It's fitting that Disintegration was their commercial breakthrough, since, in many ways, the album is the culmination of all the musical directions the Cure were pursuing over the course of the '80s.

Later hailed as one of the key goth rock albums of the '80s and considered by many hardcore Cure fans to be the band's best album, Pornography was largely dismissed upon its 1982 release, witheringly reviewed as a leaden slab of whining and moping. The truth, as usual, is somewhere in between: Pornography is much better than most mainstream critics of the time thought, but in retrospect, it's not the masterpiece some fans have claimed it to be. The overall sound is thick and murky, but too muddy to be effectively atmospheric in the way that the more dynamic Disintegration managed a few years later. For every powerful track like the doomy opener "One Hundred Years" and the clattering, desolate single "The Hanging Garden," there's a sound-over-substance piece of filler like "The Figurehead," which sounds suitably bleak but doesn't have the musical or emotional heft this sort of music requires…

Recorded in the midst of Robert Smith's tenuous tenure with Siouxsie and the Banshees, The Top is arguably the most hedonistic record the Cure ever produced. Essentially Smith and Lol Tolhurst working with studio musicians (this being the period when the Cure's lineup was never assured), it's an album obviously recorded under stress, drink, and drugs. More wildly experimental musically than anything before it, it laid the foundations for the Cure's pattern of unpigeonholable albums that were to erase their reputation built by Pornography and eventually culminating in Kiss Me, Kiss Me, Kiss Me. That said, it's still very much a Cure record. Heavy on the percussion and quaint keyboard effects that were so big in the '80s, the melodies ("The Caterpillar," "Shake Dog Shake") are unmistakably Robert Smith…

Priming the pump for their new 2008 studio album, the Cure invite five of their modern-day disciples to remix the first round of singles from their forthcoming 4:13 Dream - all released during the summer of 2008 - for theHypnagogic States EP. All the acts here - Pete Wentz and Patrick Stump of Fall Out Boy, Jared Leto of 30 Seconds to Mars, Gerard Way of My Chemical Romance, Jade Puget of AFI and Cure opener 65 Days of Static - do demonstrate some clear debt to the Cure, which manifests not in a doomy, sultry fashion but oddly, in mixes that are somewhat reminiscent of early-'90s Cure B-sides - an appropriate enough sound given the ages of the musicians, but not quite the classic Cure that provides their inspiration (although to be honest, apart from parts of MCR and AFI, none of these bands really sounds that much like the Cure, they just like Robert Smith's makeup)…

It's ironic that the Cure, a band whose albums have always seemed like definitive artistic statements, were at their best as a singles band. On the group's singles, Robert Smith's ideas reached their full potential, since they captured not only the group's off-kilter pop sense, but also the haunting melancholy and wacky humor that interlaced Smith's songs. Galore rounds up the singles from the second part of the Cure's career, beginning with "Why Can't I Be You?" from 1987's Kiss Me, Kiss Me, Kiss Me and ending with "Gone!" from 1996's Wild Mood Swings. Between those two are 15 more songs, nearly every one of which is a gem. The Cure were never a repetitive singles band, and there's a dizzying array of styles here, from infectious jangle pop ("Friday I'm in Love," "Mint Car") and monolithic, chilly goth rock ("Fascination Street," "Pictures of You," "Just Like Heaven")…

An assortment of remixes, re-recordings, old singles, and one new song ("Never Enough"). Most of the remixes are quite radical, leaving only the bare bones of the original song. There are enough oddities and rare tracks on Mixed Up to make it necessary for Cure fans, but it's too specialized for casual listeners.