The first split was right after the end of the PORNOGRAPHY tour. Violent, abrupt, chaotic. The return came with the cynical twisted disco-dance of "Let's go to bed". The second split came as an ominous warning after DISINTEGRATION, and never took place. The final warning was right after BLOODFLOWERS. Each time, after releasing a magnificent album, as a reaction or a gesture of departure, HE declared that they would split. Each time, HE continued. Thankfully.

The Trilogy DVD was the last act of looking back. "From now on, it's the new album" HE had said in the interview of the DVD. And so it happened. After a series of more or less interesting collaborations with other artists, the Cure teamed with longtime "stalker" producer Ross Robinson, admittedly a big fan of the band, and entered the studio to record a brand new album, the first in 4 years. Simply titled "the cure". And really, what else needs to be told?

HE had said that it would be their heaviest album ever, confirming a statement for the greek television before their legendary show in Athens two years ago: "the new album will combine the mood of BLOODFLOWERS with the intensity of PORNOGRAPHY". And HE was true. The new album has the heaviest production ever, layers of guitars, heavy samples and at last, a great sound for Jason's drumming (it was about time!) over Simon's trademark bass lines. It offers intensity and aggression, even though it is by no means as black, nihilist and angst-ridden as the self-destructive excellence of PORNOGRAPHY. It offers introspection and "food for thought", in a more varied manner than BLOODFLOWERS (which was not easy to achieve, given the quality and depth of this previous album). In a nutshell, THE CURE is another lethal strike. They did it again. As if you would expect anything less from these geniouses, I might add! Nearly thirty years around and they still know how to be so far beyond and above nearly anyone else. But then again, it's the Cure we're talking about.

The cover art points over to the mid 80s hand-painted bizarre artwork--- the closest catch is the "Caterpillar" 7'' and 12''. Anti-image once more, with no pics of the band whatsoever, simply the sketches, the lyrics and the credits.

And of course, the music itself: "Lost" opens the album with a building tension right from the start, low-chord guitars scratching above a drum pattern that takes its time, mostly heavy kick and toms, the bass line creeping up from beneath and keyboards added back for the maximum chill--- and then HE comes to the forefront, his voice starting low, then rising, keeps rising, keeps pumping up, adrenaline as verse after verse climaxes and reaching the chorus with passion and incredible energy--- the Cure are here and noone can stop them, right from the very start. Before you can take a breath, it's the spiral of the "Labyrinth" that drags you in, seductively, wantonly. Guitars between Smith and Perry Bamonte switching furiously from lead to rhythm, eastern riffs and fragile effects creating a fantastic atmosphere, while the rhythm section and Roger's synth effects complete the design. The vocals are treated with the proper wash of FX as well, lyrics of repeated pleas leading eventually to a wracked conclusion of disappointment, spinning around and inside a labyrinth of thoughts and emotions. Excellent!

The next two songs are more accessible, but by no means lesser: "Before three" and the single "End of the world". Like cousins of "Maybe someday", the first one delivers a nostalgic feeling of happiness and bright memories in the vein of "Catch" and "High" with a wash of great melodies, and the second a care-free lyrical manifestation over interesting and catchy ideas on the rhythm section and the guitars....why not?

"Anniversary" takes a dive into melancholy, the electronic elements and the various synth lines giving Roger the chance to appear more vividly, the guitars used cleverly as FX as well. Slow, moody, fragile, over a typically sensitive vocal and lyrical delivery from Smith. On the other hand, "Us or them" is fueled by anger and black disappointment, offering surprisingly political lyrics, great riffs and of course the output from each band member is excellent--- but the lyrical theme here is what really counts, among the album's best set of verses.

"Alt.end" had this bizarre title that pointed over to Internet newsgroups which I hate and to alternative rock which I hate as well. So I was a bit suspicious of the song, but it won over me from the start. Another set of catchy melodies, and very clever use of Jason's drumming in the production. The melodic sorrowful new wave of the 2005? Quite possibly! Maybe there IS future in music, after all.

"I don't know what's going on" is the only song from this album I can't tolerate to listen-- I really despise it. Sounds like a dumb-happy silly narration over a mixed and confused musical pattern. Well, thankfully it ends pretty soon, allowing us to move on to the excellent melodic wave of "Taking off" which takes the listener back to 1987. It could be the synth lines, the rhythm section taking off, the echoed guitars or the beautiful, sweet vocals and lyrics, or all of them together, but this strongly feels like a song that could easily be in KISS ME KISS ME KISS ME. And it's followed by a more aggressive number, "Never". Lyrically close to other songs, with erotic high expectations leading to sheer frustration, the music here has a tension and a development that gives this song a character of its own...in the good sense, that is.

Concerning the last two songs of the album..well what can I say? "The promise" is a near-11 minute monster of chaotic guitar washes, feedback and pounding drums, with Simon creating a great mood with his bass note, following the obsession of the lyrics and the subsequent vocal delivery, Smith howling and attacking his former object of desire relentessly, feeling deceived and betrayed by the "broken promise". The ending however, is the self-drowning, astonishing loneliness of "Going nowhere", a fragile, haunting masterpiece that could easily be in BLOODFLOWERS, acoustic guitars, slow tempo and Roger's excellent keyboards/piano over which HE turns in a heart-breaking, apologetic final declaration. Resignation? Return? Silence? Frustration? Perfect, for sure. And touching in the manner that only HE can provide.

This is the Cure's manifestation of their musical vision in 2004. And it's simply astonishing. They are all in great shape and it shows. The songs are nearly all excellent, the mood is magnificent, the output is admirable. Smith's lyrics are sharp as always, his performances wonderful. It's amazing how fresh his singing sounds. The 20 minutes of the "recording in the studio" bonus DVD confirm these observations: they are not only still alive, but they maintain their lead role in their lonely, perfect musical path. And yes, we are talking about the album of the year (at least). Now I am waiting eagerly for the live appearance of the year (or am I asking too much?).