4:13 Dream

The Cure’s lighter side

After four years of silence the British rockers The Cure have finally declared of themselves with a new record 4:13 Dream that becomes already the thirteenth in their discography. The collective’s front man and founder Robert Smith has stated this spring that they had a enough of new songs in store, recording 33 of them all in all, and initially it was planned to release a double disc but then the guys decided that the darker material would be released as a separate album. Before the new creation was released four singles came in four months each on the thirteenth, from May to August. It was also planned to release the record itself on September 13 but as it happens quite often the date was delayed several times and it is only the end of October that the album sees the light of the day. Anyway, 4:13 Dream proves to be quite an anticipated release. This album has concentrated everything that the collective’s lighter side has to offer, i.e. thoughtful philosophic compositions and complicated, surrealistic up-tempo songs spiced with humor, sometimes black one, irony and cynicism for which everyone loves The Cure so much.

Some pop elements on 4:13 Dream

Expectedly the greatest part of 4:13 Dream is characterized by some pop elements like light songs with memorable tunes and simple lyrics but there are some more complicated rock compositions which The Cure just could not deprive itself of. Naturally the album consists of 13 tracks and starts with quite a long introduction on rather a serious composition Underneath The Stars with a complicated tune demonstrating the playing of all the musicians preparing the listeners for the following spectacle. The album’s lead single Only One is a much more optimistic piece and a great way to make a love confession due to the witty love lyrics whereas Reasons Why pleases with a catchy melody and Smith’s original and recognizable manner of performance. The second single Freakshow proves to be the funkiest song on the album while Sirensong is one of the most melodious and romantic numbers in The Cure’s repertory. A contagious composition Hungry Ghost can be easily referred to the number of the band’s most radio-friendly songs and contrasting with it quite a heavy up-tempo Switch is built on electronic audio effects and a complex percussion. Another single Perfect Boy is a classic number for The Cure telling of high feelings with simple words and unimaginable metaphors. This. Here And Now. With You can boast the best bass line on the record while another complicated track Scream is closer to The Cure’s earlier works filled with paranoid uneasiness. Unlike most band’s creations 4:13 Dream does not close on a psychedelic note but on an intensive rocking It's Over with impetuous guitars and drums and Smith’s nervous vocals.

We can never confuse The Cure with anybody else

Whatever you may say The Cure are not called in vain the godfathers of Gothic rock. Its hits Close To Me, More Than This, In Between Days and many others have remained in the world music history for good and we will probably hear a lot more hits from this unusual collective. Its style was and was copied by many a young band but it is a well-known fact that originality is almost impossible to repeat, hence the word, therefore we can never confuse The Cure with anybody else. Robert Smith’s vocals play an important part in this respect, too, and also his inimitable singing reminding of ravings of a madman, crying of a desperate melancholic, or the complaints of a drug addict who is disappointed with life and constantly hallucinating. Nevertheless it is this very image that has made the collective so popular. As for the album 4:13 Dream, it is despite being released under number thirteenth by no means a failure. Everything on the record causes respect from the musicians’ playing to the implications in the lyrics which is genius as always so we can only guess what The Cure has prepared for us in the remaining portion of the new songs. Undoubtedly the following creation will be no less impressive.