Wild Mood Swings

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Sutherland, Mark (4 May 1996). "The Cure – Wild Mood Swings". NME. Archived from the original on 17 August 2000 . Retrieved 21 June 2016. Of all the songs I pictured them discussing, “Treasure” was the one I thought of the most. Although under four minutes, it manages to instantaneously pull you into a heartbreaking final farewell: “She whispers / ‘Please remember me / When I am gone from here’” She is the one going away or presumably dying, but still doing her utmost to take care of him: “For it’s better to forget / Than to remember me / And cry…” Inspired by Christina Rossetti’s poem “Remember,” “Treasure” is an exceptionally gorgeous song a million times deserving of its name.

When using a cutting engineer, you have to have faith that the person knows what they're doing — because that's the final link in the chain that you really have no control over. We were discussing all the details for the cut, and I said 'How are you calibrating all this?' — and it was just with his ears, basically. So you've got to trust that he can actually hear! But then things go awry. The rest of the album is a haphazard collection of varying styles — and in that way it’s no different than many of their prior albums, but in this case some of the material just isn’t up to par. Particularly atrocious is “Gone,” a throwaway that was somehow deemed worthy not only to be on the album, but to be a single. “Strange Attraction” is one of the band’s weaker attempts at a pop hit, and the utterly inconsequential “Mint Car” is a pale imitation of far better guitar-based pop songs like “Inbetween Days” and “Friday I’m in Love.” Album closer “Bare” is an 8-minute slog ––“Bore” would have been a more appropriate title. I've taken some samples off the recordings, but I've also just got the Emulator CD‑ROM sound library, and I'll be using sounds off that. Simulating a string quartet is essentially about getting the voicing correct. The brass is easier to recreate."

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But with success comes routine, and after so long in the music business, the album/tour/album/tour treadmill can prove stifling to creativity. One of the many ways musicians can escape this trap, finances permitting, is to invest in an affordable, high‑quality and portable studio system, and move from location to location recording on the same setup wherever they go. U2's enormously successful experiments with portable studio facilities, which resulted in the albums The Unforgettable Fire, Achtung Baby and Zooropa, are well documented (see Paul Tingen's piece on the subject in SOS March '94, for example). When The Cure decided the time had come to record the follow‑up to their 1992 Wish album, they opted for a similar approach, and retreated for 16 months to St Catherine's Court, a secluded Tudor house in Bath, where they recorded and mixed what has become their new album, Wild Mood Swings. Breaking The Routine Austriancharts.at – The Cure – Wild Mood Swings" (in German). Hung Medien. Retrieved 10 December 2013.

Scribner, Sara (5 May 1996). " 'Mood Swings' Strengthens Cure's Effect". Los Angeles Times . Retrieved 21 June 2016. Eighteen years into their stunning career, The Cure released their tenth studio album, Wild Mood Swings. Cosmic forces had finally aligned, for I was 18 years old, too. And, my favorite band and I had finally caught up in time.

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Mon but n'est pas de vous prouver que ce dernier est le meilleur album du groupe (j'aurais du mal), mais simplement de vous redonner envie de le réécouter. Peut être y verrez vous alors les mêmes qualités que moi. After that first night in San Jose, I saw The Cure three more times during The Swing Tour, and I have vivid memories from each show. One of the most striking being the second night at LA’s Great Western Forum, where Smith opened the show alone singing “Fire in Cairo” from debut Three Imaginary Boys (1979). Something about it scared me a bit, but I was also totally riveted. These were the kind of early moments that whisked me past the point of no return. My status as Cure fan was irrevocable. Reste (et ce n'est pas rien) la qualité des mélodies. En fait ce sont probablement les titres pop qui ont de quoi déconcerter. Parce qu'en ce qui concerne "Want" et "Trap" par exemple, je les trouve admirablement construits. Et surtout, encore une fois, énergiques. Finally, and in another break with tradition, Robert Smith's involvement on this album extended to supervision of the album's final mastering at Metropolis, London. Previously, Cure albums had been mastered at another facility, and Smith was not present. But this time, he wanted it done differently: "I was very frustrated, especially with the last couple of releases we had, where I hadn't turned up. This time, I thought I should get involved. Ian Cooper at Metropolis was recommended to us by Flood. This Is A Lie": Jolie mélodie assez naïve, pas un tube mais se laisse écouter facilement. A vos mouchoirs !