40 Years of the Cure’s First True Surrealist Pop Album
Forty-year-old The Head on the Door propelled the Cure toward arena stature with its musical cohesion and a collection of hallucinatory yet accessible songs.
Forty-year-old The Head on the Door propelled the Cure toward arena stature with its musical cohesion and a collection of hallucinatory yet accessible songs.
The Cure’s Songs of a Lost World is a cohesive collection that skews dark, cinematic, meditative exploration of loss in all its forms.
“Alone” is one of the most devastating songs in the Cure’s entire catalogue, evoking an agonizing sense of loss that can deeply resonate with many listeners.
Conceived as a spiritual tangent of the decades-old underground post-punk icons Pylon, Pylon Reenactment Society craft a fresh, fierce, bright, and dynamic album.
The female musicians interviewed in Katherine Yeske Taylor’s She’s a Badass have persisted against all odds and infused rock with a feminist verve.
Deerhunter’s Weird Era Cont., the companion to Microcastle, lives in its shadow and yet eclipses it with a bizarre brilliance all its own.
Souvenir finds Omni continuing to carve out a distinct identity (with an exacto knife) and shining among the glut of post-punk revivalist bands.
Tolhurst’s goth music history intimately details the mercurial movement, interweaving personal memories and descriptions of the “architects of darkness”.
Between Two Worlds critiques third-party storytelling as working-class exploitation.
In Formal Growth in the Desert, Protomartyr have subtly evolved their sound into something not as claustrophobically volatile as previous efforts.
The Cure’s ebulliently eclectic masterpiece ‘Wild Mood Swings’ is misguidedly maligned. What is more tantalizing than music that exalts eclecticism to such stupefying heights?
Post-punk bands Twin Tribes and Black Swan Lane hail from the sunny climes of the southwestern and southeastern US, and yet sonically mirror the late ’70s/early ’80s post-punk from the rain-sodden UK.