The ‘80s are alive and well: The Cure, Songs of A Lost World

I first became aware that Robert Smith “still had it” when I heard the CHVRCHES single he was featured on, called “How Not To Drown,” released in 2021. Smith, lead singer of The Cure for over 40 years, still sounds like it’s the ‘80s. On their latest release, the first one since “4:13 Dream,” in 2008, memories of 1989’s “Disintegration” are unearthed. Without sounding like a parody of themselves, The Cure ties together loose threads of decades past. 

The themes on the album remain dark throughout its runtime. Death and mortality are frequently referenced. The idea that Smith is getting older seems within clear view. Every song was written and composed solely by him–for the first time since “The Head on the Door” in 1985. 

The album is a long time coming for Smith and The Cure, who worked on it for several years. The band had hinted at new material and performed many of the album’s songs live at different points. 

“Alone” starts with ’80s-sounding drums and synths. The introduction goes on for minutes before transitioning into the main song. This first track sets the album’s dark mood. The lyrics at one point go, “We were always sure that we would stay the same,” pointing at a band echoing their ‘80s sound. A sense of gothic despair comes over the song without sounding too macabre. 

The album’s next track is “And Nothing Is Forever.” After a two-minute-plus introduction of synthesizer and drums, the song is classic Cure. Besides sounding identical to the vocalist’s voice in the ‘80s, the whole song mimics their old sound. The track is perfect for fans of their earlier albums and one of the easier songs to get into, with its dramatic chorus. A strong theme of mortality comes again with the lyrics, “Promise you’ll be with me in the end.”Knowing that Smith wrote and composed all of the album’s lyrics makes his own battle with mortality all the more clear.

“A Fragile Thing” has vocals reminiscent of songs like “Lovecats.”The lyrics, however, are much darker and despairing. 

“Warsong” brings in a more industrial element à la Nine Inch Nails. The song is halfway through before the lyrics start. Smith’s vocals are strained and stylized to sound crunchier and more industrial. It ends bleakly with, “All we will ever know is bitter ends/for we were born to war.”

“Drone: Nodrone” is perhaps the catchiest song on the album. The tempo picks up and the chorus sounds like classic Cure. 

“I Can Never Say Goodbye” opens with a piano riff echoed with guitar. The song sounds “big” with swooning synths and echoing vocals. 

“All I Ever Am” is more guitar-heavy. The song is probably the most introspective on the album, reflecting on past love and life. It gets into mortality and aging, “My weary dance with age,” and becomes reflective. 

“Endsong” is the album’s highlight. The band saves the best for last here. They are at their bleakest with the lyrics, “It’s all gone,” repeated along with “nothing.” Musically, the song echoes these lyrics. Big ‘80s style drums, melodic guitar riffs, and atmospheric synthesizers all contribute to the classic sound, showcased perfectly on this track.  

The instrumental song introductions are long, and the lyrics are morose, but The Cure still has a lot to offer with their late-career album. “Songs Of A Lost World” might require more than one listen to fully appreciate—it did for me—but the songs are worth it.