The Cure Disintegration by: Justin Pearsall Tue:06-Mar-07 Label: Year: 1989 WB rating 70 out of 100

Releases like Disintegration are what led many to label the music of The Cure as “a soundtrack to slitting wrists”. Dense, undeniably dark and with a pervading sense of heartache that fills all seventy-one minutes, Disintegration is still not an easy listen. Robert Smith, the face painted ring-leader, the tragic clown, is at sea in misguided love, loss and an aching regret. It is widely thought that drowning would be the most horrific demise but Disintegration feels like a peaceful act, where, finally free of reflection, the swell of sounds washes Smith’s pain away.

‘Plainsong’ places the listener in purgatory. Smith replays past memories, his delay-soaked voice reveals the much-loved reel of footage so often repeated it has worn itself paper-thin: “‘I think it’s dark and it looks like rain’ you said, ‘and the wind is blowing like it’s the end of the world’”. Wind chimes and gospel-inspired synthesiser clatter together concluding in dissonance and drama. The sound of shadows, The Cure’s macabre mood is instantly established and once they have set the course of this ship it will not be changing direction.

The momentum of the album established, ‘Pictures Of You’ continues in this epic template, the song building through minutes of instrumentation before Smith eventually reveals the song’s obsession: “I’ve been looking so long at these pictures of you/That I almost believe that they’re real.” The personal anguish of love has been delicately detailed by the band, the key to the song being its thickness. Guitars and chimes roll over, moving inside and outside of the surrounding instrumentation; the steady drum and bass combination providing the framework for this meandering.

‘Closedown’ follows the formula of eloquent melancholy, with another two minute all-instrumental opening. The repeated use of this technique can sound tiring, the album’s grand mood often difficult – like trying to run in water.

While ‘Closedown’ is fine as a stand alone song, its placement next to two better and similar tracks makes it an unneeded track on Disintegration. Thankfully, ‘Lovesong’ shifts tempo and the album loses some of its musical melodramatics, warming up with a poppy bass and organ led feel. Smith, however, is the link carrying the album’s direction; his voice drenched in pain: “Whenever I’m alone with you/you make me feel like I am clean again.” Upon reading Smith’s lyrics it is easy to argue that his words are mere cliché, but the wearing familiarity of his words, and the ease in which they can be understood, is another consistent element of the album; contributing to it as a mood piece.

‘Fascination Street’ places Smith on the verge of madness and is an early indicatior of the alt-rock style sound that the band would deliver a decade later. Vocally at his most energetic, Smith loses the cajolery, his directness is fitting: “I’m begging to drag you down with me/To kick the last nail in”. The sadomasochist in Smith rises to the forefront, aggressively pursuing his prey and clawing, arms outstretched to drag some company down with him. The song is driven by a bass heavy approach that proved to be influential for a number of nu-metal acts [unfortunately including bands such as Korn, Stained, but thankfully influencing bands like Faith No More] and gives the song a meaty, grinding drive.

While there are a number of musical styles within Disintegration – including ‘Lullaby’ with its oriental, Bowie-inspired sound – the majority of the album is simply a dense wall of consistent sound and themes. Hence, Disintegration does wear as a listening experience. The wall of sound approach employed to confront love and loss was a unique and innovative mood, influential to the alt-rock of the ‘90’s, the disco pop-rock of now and, unfortunately, nu-metal. But influence aside, the album is either cursed by its heavy handedness or made marvellous by its unrelenting mood. Personally, it is an album I can only listen to on certain occasions, when in the correct mood the songs pass by, strangely soothing. But having to subject myself to repeat exposure to review an album that I grew up with has been a harrowing experience and one that I will most probably not revisit anytime in the near future.