The Cure released a new album, so life seemed beautiful for every eldest daughter who adopted her dad’s music taste. As someone who falls into this category, I was intrigued by “Songs of A Lost World,” but I was not necessarily excited. 

It has been 16 years — and eight too many Green Day albums — since The Cure released their last full length album. I hate it when classic bands who do not understand that they are past their prime release new music. But it becomes personal when it is a band I adore, especially if I have seen them live.

I caught The Cure live in 2023 for a three-hour concert, and I have to say, Robert Smith’s energy was impressive. At 65, I didn’t expect him to still be moving around with such enthusiasm—he was flailing his arms and commanding the stage for hours without missing a beat. It was amazing to see him still fully immersed in the music, showing that age hasn’t slowed him down on the stage – perhaps it has with releasing music. 

Don’t get me wrong, by no means do I dislike The Cure. They have been among my top five artists on Spotify Wrapped for the past two years. To me, The Cure is the perfect goth band and the only band that makes songs longer than five minutes and does not lack artistic merit, making the longer tunes enjoyable. Sorry, TOOL fans. 

When Nov. 1 rolled around, I didn’t go into my first listen of the new album expecting hits like “Lovesong” or “Just Like Heaven.” However, I wasn’t prepared for the slow yet overpowering orchestra that bleeds into some of Smith’s most vulnerable lyrics. The post-punk band is known for having long intros, but did they need a 10-minute song? The band could have gotten to the point in five minutes or less. 

Mostly, “Songs Of A Lost World” still captures The Cure’s signature sound of sweeping gothic rock. Jagged guitar pulls feelings like the band  welcoming their audience back to their paranoia. Weeping lyrics like, “Don’t tell me how you miss me, I could die tonight of a broken heart” from track three, “A Fragile Thing,” accentuate this feeling.

I was impressed with the guitar solo on track four “Drone: Nodrone.” Guitarist Reeves Gabrels made The Cure’s mysterious sound more engaging without depending on Smith’s unique vocals and dissident lyrics. 

Despite having only eight songs on the new album,Smith captured many emotional battles within the lyrics. The album allowed Smith to cope with his parents and older brother passing away. These personal tragedies are attached deeply to the album’s lyrics. In the album, Smith confronts grief and mortality, unafraid to be honest with himself and the audience. Each track immerses the listener in his journey, revealing the pain that came with each rewrite.

“Songs Of a Lost World” is not a masterpiece, and it’s not the album I would play if I were looking to listen to The Cure. The album sounds like something the goth kids from “South Park” would rave about and tell me I just “don’t understand the meaning.” I understand the message, but I’m not impressed. Even though the album is an enjoyable listen, it is nothing more than another album from a band out of its prime.

Is The Cure’s “Songs Of a Lost World” worth listening to? Sure, but it will never be the album. You have to prepare yourself to listen and get into The Cure. If you want to stare at your ceiling and do nothing, “Disintegration” is the way to go. If you’re looking for some early jams that are more light-hearted, “Three Imaginary Boys” is for you. Would you rather have a combination of both? The best album to grab is “The Head on the Door,” or The Cure’s greatest hits. 

Even though at times it feels like the songs drag on “Songs Of A Lost World,” it still highlights Smith’s unique voice and emotional depth. It is a mature record that has refined songwriting that is worth listening to but is nothing to praise the band for. 

Edited by Ava McCluer | amccluer@themaneater.com 

Copyedited by Caroline Sweet and Hannah Taylor | htaylor@themaneater.com

Edited by Annie Goodykoontz | agoodykoontz@themaneater.com