The Cure is a band that needs no introduction. They have been innovating within music since their 1976 formation. In a sea of nostalgia bait cash grabs, The Cure reminds everyone that forward-thinking is the only way for creatives. Their latest LP, ‘Songs Of A Lost World’, feels just as career-defining as ‘Disintegration’ or ‘Wild Mood Swings.’ They have adapted to modern times without taking away from the band’s ethos, which is what allowed them to become a cultural phenomenon in the first place. It’s challenging to place opinions on something so profound; of course, there is an inherent bias towards the band from me as a lifelong spectator. Before I gained consciousness, my traditional goth mom blasted these records in her car. Still, it’s not a perfect record—instead, it’s a work of experimentation and a commitment to creativity. The Cure did not become legends by copying anyone else.

Though ‘Songs Of A Lost World’ only contains eight songs, a small number for a full-length LP, the nearly hour-long record is full of anthems that tend to exceed the 4-minute mark. The opening track and lead single, “Alone,” sounds like a film score. It builds gradually over a minute, introducing the record's themes purely sonically before adding Robert Smith’s poetry about halfway in. Immediately, the record begs the listener to find context clues within the music’s arrangement. These days, audiences rely on bluntly being told a song’s meaning within it. Sometimes, the real magic is found within subtleties, like the pad synth that flows in a hidden layer of “Alone” over the lead guitars. Listening to “Alone” feels like sitting in a planetarium, arguably a lost world.

The cinematic quality of the record follows through each track, including “And Nothing Is Forever.” The orchestral elements add a nice texture to the mix, deepening its sonic possibilities. The same electric guitar tones from “Alone” are used in “And Nothing Is Forever,” developing a sense of cohesion. There’s a pattern here of talking without saying anything that works for The Cure. These instrumentals that last for about half the song articulate the tracks’ meaning and hidden themes. I sadly missed The Cure’s performance in London, but it’d be interesting to hear these tracks live to see what other hidden gems are in them. Robert Smith’s vocal range sounds as strong as ever, if not stronger, from a lifetime commitment to his craft. Lyrically, nobody has yearned more than Robert Smith. Ever.

‘Songs Of A Lost World’ begs the question: what triggered Robert Smith’s existential crisis? Was it the simple yet complex efforts of the passage of time or something bigger? Either way, “A Fragile Thing” suggests Smith finds humanity within real-life love. He has famously been married for years, and these two are enough to make one restore their faith in the phenomenon. Still, a larger theme is at play within “A Fragile Thing” and its romantic yearning overtones. Sonically, it’s far more upbeat than the rest of the record; the lyrical metaphors and overall choices distract from the Fosse-danceable melodies. I hope to love something (or someone?) as significantly as Robert Smith loves Mary Poole someday.

The lyrical stylings in ‘Songs Of A Lost World’ are deeply fascinating. They require one verse and a repeated motif to tell a story essentially told by the track’s instrumentals. “Warsong” is the perfect exemplifier of this approach; it enforces The Cure’s knack for commentary and revolutionary ideology while remaining enjoyable to listen to. Most of this record is slower, a bold choice for the modern ear. However, I believe this choice is necessary for The Cure’s ultimate goal. It feels as though The Cure is begging audiences to pay attention. Themes of romantic love are found within “Warsong,” but I believe it also speaks to a greater level of humanity. “I want your death/you want my life” is a simple yet profound iteration of the complexities we all face within our relationships due to polarizing societal standards.

“Drone:Nodrone” is “Space Oddity”’s elder sibling, floating through space like the record’s visualizer. This is the record’s strongest track sonically; it’s become my favorite. The catchy hook achieves The Cure’s goal of getting everyone to listen but in a “you don’t want to listen, you just want to dance” way. ‘Songs Of A Lost World’ finds a contemplative Robert Smith exploring everything he has experienced to date, and I’m sure this quite literally refers to technological evolution. Of course, “Drone:Nodrone” has more profound meanings, but it’s enough to question what Smith felt when he wrote these lyrics. He’s “trying to make some sense of it,” and “it’s all so hit-and-miss.”

The b-side of “Songs Of A Lost World” is truly phenomenal. “I Can Never Say Goodbye” revisits the earlier songs’ structures, giving the record a grooving pace as it settles down. This is among the most thematically profound songs on the record, with Smith facing some brutal realities that come with age, and I hate to say it so plainly. There’s likely a lot of pressure on him; whether the band retires or continues forever is ultimately the frontman’s decision. So, I believe this song is not necessarily referring to parting ways with a specific person. Instead, The Cure is at a strange phase of life, leaving Smith with the daunting task of knowing when to take his final bow. I don’t believe he’s ready to do so yet, but hopefully, we may get a few more records by The Cure.

“All I Ever Am” affirms my stance on “I Can Never Say Goodbye.” Again, we see a contemplative Smith having what appears to be an existential crisis (relatable). He says what I felt in the previous song rather plainly here: “I overthink of all to come/Of how it will be when I give up/My weary dance with age/And resignation makes me slow/Toward a dark and empty stage.” It seems he marvels at the fact that we’re all still here, generations of fans finding The Cure somehow, giving him the motivation to keep going. He has famously struggled with his mental health, opening up conversations that were previously somewhat taboo to cover. Now, though, these fears are beyond anything I can fully relate to—but I certainly empathize with Smith as he so openly deals with the crippling truth of mortality. This is one of my favorite songs on the record, as I’ve never heard anyone flat-out say these things before.

There was a 16-year gap between releases by The Cure. “Endsong” feels all the more severe as a result. This 10-minute ode again brings mist to my eyes; most people keep these feelings to themselves, but Smith seems to only find peace by revealing himself emotionally to his audience. That’s a beautiful quality, rendering it challenging to place opinions on these tracks. These songs are his life, especially at such a late stage. Still, it appears he has lots of energy built up despite his overwhelming anxiety. Though it’s called “Endsong,” I’m not sure it’s really the end. The song’s lyrics are plainly stated, but it still leaves us on a cliffhanger. Maybe I’m just optimistic that there will be a 15th record by The Cure.

“Songs Of A Lost World” is a stroke of pure genius. It won’t be everybody’s cup of tea, especially with the risky formatting choices covering the entirety of its duration. The songs are long and often slow, but there is magic to be found for those with ears to hear them. I went into this record as a skeptical life-long fan of The Cure, wondering why they decided to do this now, scouring Reddit threads for more context or lore. Yet, it only made sense after I listened to the record for the first time. Robert Smith still has plenty of stories; this record was simply a personal necessity, something he needed to do to get by mentally. That’s the beauty of creation, after all. Our visions are hollow if we only execute them for a numeric value like monetary gain or social media engagements. The Cure states that music transcends all material wealth, and one is finally rich when they are true to their artistic visions.