The Cure is one of the few bands that can proudly say they’ve never released a bad album. They formed in 1976 in Crawley, England, and released their first album, Three Imaginary Boys, in 1979. Over the years, they became leaders in goth music and eventually broke into mainstream success. Frontman Robert Smith, the only member who has been with the band from the start, is widely regarded as a musical genius. In fact, The Cure and Radiohead teamed up against AI as well.
The band’s sound has changed and grown over time. They started with a post-punk style, then added elements of psychedelia and goth to create their signature sound. They’ve also explored electronic, art-rock, and industrial styles, always finding ways to keep their music fresh and exciting.
After nearly 20 years, The Cure released their 14th album, Songs for a Lost World, on November 1st. Fans and critics agree it’s one of their best albums yet, combining the band’s classic gothic style with a new space rock vibe. The album feels deep, emotional, and was worth the long wait.
Despite their success, the band has faced many challenges. Smith has struggled with personal issues like drug use, and the band has dealt with internal conflicts and changing music trends. These struggles have led Smith to consider ending the band several times. After the success of their 1992 album Wish, which included hits like “Friday I’m in Love,” Smith felt stuck creatively as new music styles became popular.
Their next album, Wild Mood Swings (1996), reflected this struggle. Changes in the band’s lineup and the use of new digital tools like Cubase made the album feel inconsistent. Smith thought The Cure might have reached the end of their creative journey. However, while working on their 2000 album Bloodflowers, Smith found new inspiration. By focusing on honest, emotional music without worrying about commercial success, he rediscovered his passion. The album’s title track, inspired by artist Edvard Munch’s views on pain and art, helped him reconnect with why he loved making music.
Smith later said that Bloodflowers reminded him of the joy he felt while recording 1987’s Kiss Me, Kiss Me, Kiss Me. By letting go of outside pressures, he was able to breathe new life into The Cure.
Through all the ups and downs, Robert Smith has kept The Cure moving forward, ensuring their music remains as powerful and timeless as ever.
