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4:13 Dream

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Editors’ Notes

After three decades, The Cure’s Robert Smith knows how to make a Cure album. He knows, for instance, it should begin with slow, dark guitar chords that grind into an echo canyon for at least six minutes (“Underneath the Stars”). There should be moments where he moans in existential futility with a heart wrecked by unfulfilled passion (“The Real Snow White,” “The Scream”). He should write a few quick pop songs for good measure (“The Only One,” “The Perfect Boy”). And all of this should be brought together as if Smith has an overall concept or vision that ties everything into one piece. That concept, however, isn’t a literal one. It’s a sonic one. And Smith infuses 4:13 Dream with a massive sense of grandeur that only he can gracefully pull off without seeming like a megalomaniac. He unites the quick jab of “Freakshow” and the nearly countrified “Siren Song” with the ambient forest ruling “It’s Over,” uniting the different approaches with his eager and yearning vocals that are more playful than ever, reaching a near yodel in the sillier moments. It’s this flexibility that’s enabled him to keep the Cure from going stale after all these years.

Customer Reviews


Single after single, this album has been hyped to such an extent over the last year that dissapointement was almsot expeced. 4 years after their last album, the only dissapointment to be had in the 13th Cure installment is that there are only 13 songs, not 2 cds as earlier planned by Robert. From Underneath the Stars, the tone is so beautiful and heavy that you wish it would last forever. Each song carries out some unique form of beauty and never misses its mark. It gets happy, it gets sad, it gets hyper and poppy to angry and sadistic. This is classic Cure at its best, and while it may not bring anything unique to the table as far as what we've heard from Cure in the last 30 years, that's never EVER a bad thing. From beginning to end, this cd is perfect. All expectations were exceeded. Now, we're just left with an open jaw and a heart that beats for more. (Personal favorite song: The Hungry Ghost)

M'eh, It's OK...

It is not a terrible album, but it makes me want to go back and listen to Disintegration, or Seventeen Seconds...

Don't Believe The Hype

I keep hearing the phrase, "This is classic Cure!" Really, People. Come on. Does ANYONE remember their epic work which defined them as artists and originals? Albums such as: Seventeen Seconds, Kiss Me, Kiss Me, Kiss Me, Pornography, Disintigration, and Bloodflowers? This album is just another sorry example of great artists who's well's have run dry and are merely phoneing their work in because they can't do anything else. Instead of going gently into the night and leaving sweet memories composed in musical masterpieces, they torment us with the last gasps of the death rattle and pawn it off as a work worthy of artistic merit. I may be the only one who is HIGHLY disappointed with this album, but I am one who remembers The Cure when their music had a life of it's own, painting beautiful, epic poems for the ears and soul. They say that every dog has its day. Unfortunately, Robert missed the meeting informing him that his day had finally come.


Formed: 1976 in Crawley, England

Genre: Alternative

Years Active: '70s, '80s, '90s, '00s, '10s

Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few were as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith (born April 21, 1959), the band became well-known for its slow, gloomy dirges and Smith's ghoulish appearance, a public image that often hid the diversity of the Cure's music. At the outset, the Cure played jagged, edgy pop songs before slowly evolving into a more textured outfit. As one of the...
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