Goth gods THE CURE win their first Grammy award in their 50th career year.
Last night they received it for Best Alternative Album for their 2024 full-length Songs Of A Lost World (TUTV’s named it best LP that year)
We’re on our way, slowly but surely, to the end of 2025.
Instead of starting to think about this year’s best LPs,
let’s go back to 2024 and listen to TUTV’s 20 Best Albums
again and look back on what we wrote about each one
of them.
Orchestrator Robert Smith about
their supreme new opus.
TUTV: In the past 16 years Robert Smith lost his mother, father, and brother.
All these painful events led to this extraordinarily touching record. It’s one
long, emotionally layered lament that works liberating in the end.
Strong sentiments of heartache, grief, and sadness are omnipresent, but you
hear and feel frequently that Smith has accepted humankind’s inevitable destiny.
Live and die. Life and death.
Sonically, it feels like if you’re part of a funeral march that progresses in slow
motion. Almost every song starts with a long instrumental intro of waves of
mourning synths and weeping guitars, and every time when Smith‘s feverish
voice joins in, the sense of tristesse augments wondrously heavy-hearted.
5-star masterpiece!
Following the released frontman Robert Smith revealed that the band
have another new album that’s “virtually finished”, with a third new record
also on the way. He added that he wanted to complete one of the new
releases before they hit the road again.
Orchestrator Robert Smith about
their supreme new opus.
TUTV: In the past 16 years Robert Smith lost his mother, father, and brother.
All these painful events led to this extraordinarily touching record. It’s one
long, emotionally layered lament that works liberating in the end.
Strong sentiments of heartache, grief, and sadness are omnipresent, but you
hear and feel frequently that Smith has accepted humankind’s inevitable destiny.
Live and die. Life and death.
Sonically, it feels like if you’re part of a funeral march that progresses in slow
motion. Almost every song starts with a long instrumental intro of waves of
mourning synths and weeping guitars, and every time when Smith‘s feverish
voice joins in, the sense of tristesse augments wondrously heavy-hearted.
5-star masterpiece!
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ALBUM
. Instagram – All Albums
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TUTV: Musically, tattoo artist Carter and his accomplices have left their angry punk days behind them and moved closer to classic rock on this surprising and bold longplayer.
And it’s a truly staggering result with several melodramatic power ballads that generate goosebumps, and some stoner rock ebullitions to keep balance. Carter sings his heart out with monumental vivaciousness. A vocal tour de force throughout, dealing with up and down emotions.
Lias Saoudi (voice/face/wordsmith/poet/writer): ‘Forgiveness Is Yours,’ is about life as eternal contingency… about no longer suspecting, but knowing that this shit will never get any easier… in fact, it’s about to get a whole lot worse, your body’s going to go into decay and the people you love will slowly start dropping dead around you… but somehow, you’ve smashed enough
of your expectations thus far in life, you’re sort of fine with it… you accept it.The overarching aesthetic themes at work here are torpor and further torpor still.”
TUTV: Without a shadow of a doubt their most startling, and most creative/inventive accomplishment. Sounds like FWF have written/recorded the bone-chilling soundtrack
for an entertaining Doomsday party. Enigmatic reflections, dark deliberations, distressing vibes, a John Lennon tribute and Saoudi as the foreboding messenger and sinister poet in the middle of it all. It’s the end of the world, as we know it, and it feels like Fat White Family.
Cave: “There’s no fucking around with this record. When it hits, it hits. It lifts you. It moves
you. I love that about it. I hope the album has the effect on listeners that it’s had on me. It bursts out of the speaker, and I get swept up with it.”
TUTV: Cave is the God of cloak-and-dagger balladry. Now here’s a God I can believe in. Again he shows why he’s one of the best ever crooners in the universe. And lyrically it
feels as if, after so many devastating, heart-crushing years, with the loss of two sons,
he lets sparks of light back in his life. God bless Nick Cave.
TUTV: White returns to his punk blues roots of the early days. Swipe after swipe,
blue stripe after blue stripe, kick after kick, clap after clap. A total of 13 thunder
strokes. High-wired electricity. Dope stuff.
TUTV: The charismatic Lia Metcalfe‘s singular voice, both anxious and bewitching,
is all over this new, awe-inspiring full-length. Overall the sound is even more gloomy
and spine-chilling than on their debut from 2022.
It fits Metcalfe‘s introspective reflections on her turbulent past terrifically well.
They’re embedded in arresting songs that send shivers down your spine.
But, eventually, there’s a light shining
at the end of the Mysterines tunnel.
One that illuminates their future
and your stereo.
TUTV: The star duo made an album with lots of bright pop tunes and some blues light
ones. The licks/riffs and hooks – about a thousand – haven’t that BK’s raw and rough edge as we are used to, but I don’t miss it whatsoever.
The overall sonority leans more towards power guitar pop (slow, mid-tempo and only
a couple of fast ones). I never thought that the tandem would come up after 23 (!) years with a pretty different sounding, coherent longplayer, without ignoring their blues roots that is. I played Ohio Players more than their whole catalog together. Say no more.
TUTV: The three main elements that make this album special are Jeen’s remarkable
voice, her high-quality songwriting expertise, and the heart-and-soul passion that streams throughout it. Whether Jeen rocks out, muses, or swings moods, she always holds your aural attention.
TUTV: With Interplay their shoegaze past goes into the dustbin. Ride came up here
with a multi-layered pop LP stuffed with arousing tunes, alternated with pepped-up reveries.
All songs are sublimely orchestrated and bathe in a psychedelic jacuzzi,
while vocalist Mark Gardner‘s velvet vocals match the radiant atmosphere
exquisitely. It’s a new ride, and it’s a gratifying one.
TUTV: This first Mancunian collabortion sounds as if was made about 30 years ago.
Most tunes could be leftovers from The Stone Roses‘ 2nd and final 1994 LP Second Coming, the one on which Squire played his guitar exactly the way Jimmy Page did in Led Zeppelin for years. And Liam is Liam. Arms together on his back and letting his pipes do the talking. The two heroes just did what they wanted to do, making an album together and having fun doing it.
Before I was aware of it I had played the album about 10 times in 2 days.
Mind you this is not a masterwork whatsoever, but all 10 tunes are top-entertaining
and stick faster than I can say “I want the Stone Roses support Oasis on their reunion tour”?
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. Liam Gallagher – John Squire
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TUTV: The Other Side is a concept record about a “mysterious couple” having
adventures in an otherworldly America. The by-now 76-year-old Burnett translates
their journey in lovey-dovey lullabies, heartfelt musings, and amourus ballads.
This is the perfect record for daydreaming and relaxation. Soft, mellow, and tender.
His slightly hoarse Americana voice enchants and entices all through this sepia-colored album. Pure romanticism. Pure songsmith.
Artist: JUJU (Italy)
Brainchild of Sicilian multi-instrumentalist
and producer Gioele Valenti. Album: Apocalypse Is God’s Spoiler
Photo by Turn Up The Volume
TUTV: Valenti is a jam champ and a groove master creating electrifying, trance-like vibrations that transfer you to the dark side of your mind where you can freely
fantasize and explore your own psyche.
Circling Krautrock-like psychedelia is all over the place. Choir chants and spacey percussion cause a tribal atmosphere à la The Brian Jonestown Massacre and The Dandy Warhols. Mind-bending and dream-triggering. As always.
TUTV: After the turmoil, chaos and drugs addictions (especially Doherty) of the early
years, the side-projects, solo records and getting clean and healthy the Libs are back, again. They’re not the boys in the band of yesteryear, they’re now grown-up men who
enjoy a stable life and still are obsessed by making music.
They became notable, experienced musicians who left their hedonistic lifestyle behind themselves for several years now. Not one dull moment, not one dull song on the eastern esplanade.
TUTV: The Irishmen have become first-class songwriters (which they already proved on previous LP Skinty Fia– – still my favourite one). Frontman Grian Chatten‘s lyrics show (again) his observative view on this modern-day, confused world and how it affects
his inner-self.
This is not their masterpiece yet to my ears, but it’s only a matter of
time that they will come up with a longplayer that will blow us all away.
Turn Up The Volume: Old skool punk ‘n’ roll? Absolutely. Any good? You betcha! Amyl and her loud buddies made another roasting riff-manic-monster of a hell fucking
hell yeah record. Pogo madness is back. Sturm un drang from start to finish. HOLY MOLY!
Band:THE SMILE
Sort of supergroup featuring 2 radioheads, Thom
Yorke and Jonny Greenwood and drummer Tom Skinner.
Album: Cutouts.
Their 3rd LP in just 2 years
(Radiohead 8 in 31 years).
TUTV: By far their best to my ears. On the previous 2 ones they tried too hard
to not sound like Radiohead (which they did frequently anyway) and did it with
too many redundant orchestrations, too many unnecessary layers and a bit of
arty farty structures here and there.
Mind you these are good LPs but on this one they keep it far more simple resulting
in 10 very compelling pieces of mesmerizing music. Trippy fast ones alternate with slow
musing ones and throughout the arrangements are subtle, direct and most entertaining with Thom Yorke sounding, yes, at ease, not forcing his compassionate voice/vocals. Bingo.
TUTV: Nostalgia is the keyword all over this fully devoted record. As we already know
for a long time Hawley is a romantic at heart who’s in love with his city Sheffield since
he was a child. It’s more than just his hometown.
It’s the place where he experienced all things good and bad, happy and sad. It leads
to yearning renumerations, fanciful daydreams and wistful meditations. With his soft-heartened voice and late-night stories, the late great Roy Orbison comes to mind on
several occasions.
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. Instagram – All Albums
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Artists:DEAD ANYWAY British duo combining the dark lyricism of Kate Arnold
against the music and soundscapes of Marc Symonds. Album: Tough, Listen
TUYV: Slow/mid-tempo/fast trip-hop tunes are wrapped in layers of
distortion and feedback, creating an eerie and at times sinister ambiance.
Massive Attack, Tricky, Arab Strap and Mike Skinner’s The Streets
and Laurie Anderson‘s latest opus Amelia come to mind.
DA resonates as EBM for people who come alive when the darkness sets in, far away
from our 24/7 suffocating life and the world’s destructive nature as we experience now, again.
Kate Arnold‘s spoken word stories evolve on waves of chilling synth soundscapes that actually ease one’s confused mind (mine, for sure) and transfer you to your space of imaginativeness. Trance massage it is. You’ll feel alive anyway.
“The singular mixture of classic punk/hardcore and electronic styles result in 12 frantic tracks of postmodern pop for the genreless future. Painted with a broad pallet of only the most extreme hues of emotion, each track is marked by a distinctive danceable mania.”
TUTV: Let your head kicked in with schizophrenic disco sledgehammers for illegal raves in batcaves where dropouts, misfits, loners, eccentrics, bohos, and other related outsiders gather to move in mysterious ways, far away from the normal world.
TUTV: It’s vintage Shellac/Steve Albini with its wayward song structures, its
capricious and minimalistic approach, its broken riffs, edgy hooks, sinewy
drumming, Albini‘s firm vocals and the raw and rough post-punk dynamics.
Absolutely weird to listen to, knowing
that the noise wizard is here no more.
He passed away on May 7, following a heart attack.
Only 10 days before the album release. Sad loss.
Last month, THE CURE released their 1st longplayer in 16 years. Songs Of A Lost World. A magnificent magnum opus. One of their
very best ever and a big contender for best one of 2024.
Now, their Goth maestro ROBERT SMITH confirmed the rumors
of more new Cure music to come. Not one, but two albums.
Smith: “This ‘Songs Of A Lost World’ album is a really emotional piece of work
and the companion piece, it’s not quite as dark but it explores other subjects a
little bit more.”
“The third one is very odd, actually. I haven’t finished the words to that one because
my headspace has been much more focused on performing these ones. I don’t really
want it to end because it’s been so good. The reaction to the new music has been so,
so great. It’s been really lovely to feel people giving us all the love.”
Album: SONGS OF A LOST WORLD
Their 14th LP, their first in 16 years.
It went to the top spot in the UK and the US.
NME says: “The album deals in darkness and death, but with
flowers on the grave… Being arguably the most personal album
of Smith’s career. “
TUTV: Sonically, it resonates as if you’re part of a funeral march that progresses in slow
motion. Every song starts with a long instrumental intro of waves of melancholic synths and weeping guitars, and every time when Smith‘s feverish voice joins in, the intensity augments wondrously captivating.
The most drastically soul-stirring record I heard all year, accentuating how sorrow
can overwhelm and hurt one’s heart and mind. It’s a universal experience that millions, and millions of people who lost loved ones – past, present and future – can relate to.
Pure masterpiece.
KEY SINGLE
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. Instagram – All Cure Albums
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– 2 –
New album artwork
Artist: KIM DEAL
Best known as the utterly cool bass player of indie icons Pixies and from her own band The Breeders, featuring
her twin sister Kelley.
MOJO (British music monthly) says: “Nobody Loves You More is a singularly uplifting,
life-affirming listen, where joy and despair, love and loss, are irrevocably entwined, and
kept afloat by Deal’s unfailing lightness of touch.”
TUTV: Kim Deal on her own, expresses mixed emotions about past and present
personal experiences. Mostly with moony and subtly orchestrated reveries such
as the title track, Coast, Are You Mine?, Wish I Was, and Summerland. All charming
and melancholic songs for a quiet winter night in.
Deal‘s slightly hoarse voice is instrumental. Its tender-hearted aura creates a relaxing ambiance, interrupted now and then by more uptempo, upbeat tracks like stand-out
vibe Crystal Breath, the vigorous guitar-frisky Disobediece and the buzzing Big Ben Beat
jam. A formidable debut record.
Band: MAYFLOWER MADAME Who: A band from Oslo, Norway who specialize in a dark and distinctive blend
of post-punk, shoegaze, and psych-noir. Their history, so far, includes two album
releases, Observed In A Dream (2016) and Prepared For A Nightmare (2020).
MM: “Insight’ is the album we’ve always wanted to create, but at the same time it’s
the most personal and emotionally hardest we’ve made so far. Lyrically, it delves into
a wide range of emotions, from somber reflections about loss and sorrow to feverish
depictions of love, escapism and catharsis.”
TUTV: As they showed/proved us so many times before MM know mesmerically well
how to embed infectious, poppy melodies into trance-like orchestrations infused with waves of sparkling guitar lines and transfixing vocals, creating a magnetic appeal.
Best examples are the 4 top-tier singles Crippled Crow, Never Sever, Paint It All In Blue
and A Foretold Ecstasy. References? Depeche Mode, New Order, Interpol. Impressive, right? You betcha.
The Guardian (British newspaper): “Its two predecessors
were surprisingly good, this is genuinely great.”
TUTV: Lots of critical praise for PP’s new opus, deservedly so. At 72, he still excels
in writing high-quality pop/rock songs and he’s still a romantic at heart. His unique
voice and luminous guitar play combine for a splendiferously aural delight. With
20 tracks a bit too long, although there’s not one bad one on this gratifying record.
Band: THE CHRONICLES OF MANIMAL AND SAMARA Who: London-based DIY duo – Daphne Ang (Singapore) and Andrea Papi (Italy)
that fills a gap in music by bringing literature, art, and history together into a
space where rock and metal meet electronica. They released two fascinating
albums so far.
TUTV: TCOMAS have broadened their musical and lyrical boundaries again.
Mind you, their psycho-delic, metallic trademark sound, their quiet/Loud/quiet rollercoaster compositions and their intriguing sagas are still in place here, but
there’s more room for meditative moments, annex Samara‘s chill-out voice/vocals,
like on Waves, Mysterium Tremendum, with beautiful classical piano play, and Per Astra.
Their mercurial and emotional odysseys are inventively fragmented, swinging
forth and back. And then there’s the unexpected, but superb collaboration with Italian hip-hop rapper Mr Meuri on standout piece Bite The Bullet. Another rad
longplayer achievement.
IT IS ENORMOUSLY UPLIFTING, GENUINELY HEARTWARMING TO EXPERIENCE SUCH A WONDERFUL REACTION TO THE RELEASE OF ‘SONGS OF A LOST WORLD’ – TO EVERYONE WHO HAS BOUGHT IT, LISTENED TO IT, LOVED IT, BELIEVED IN US OVER THE YEARS – THANK YOU – X
A stunning, heart-and-soul stirring longplayer mostly inspired by
maestro Robert Smith‘s loss of his brother and parents the past
16 years.
TUTV: “The most drastically soul-stirring record I heard all year, accentuating how
sorrow can overwhelm and hurt one’s heart and mind. It’s a universal experience that
millions, and millions of people who lost loved ones – past, present and future – can
relate to.”
Unquestionable contender for Album Of The Year.
On the album’s release day, November 1st, the band played their new
magnum opus in full (and ended with a series of past hits) at The Roxy
in London (OMG, I wish I was there). The concert was streamed in real
time on the internet.
If you’re a fan, and you missed
it, here’s the full 3-hour show.
NME says: “Robert Smith and co’s first full album in 16 years deals in darkness and death,
but with flowers on the grave. ‘Songs Of A Lost World’ feels sufficient enough for the wait we’ve endured, just for being arguably the most personal album of Smith’s career. Mortality may loom, but there’s colour in the black and flowers on the grave.” Full review here. Score: 5/5.
TUTV: In the past 16 years Robert Smith lost his mother, father, and brother. All the painful experiences surrounding these impactful, indelible passings led to this brilliant, gloomy record. One long emotionally layered lament, one that seems to work liberating in the end.
Strong sentiments of heartache, grief, and sadness are omnipresent, but you hear and
feel frequently that Smith has accepted humankind’s inevitable destiny. Live and die. “There’s nothing you can do to change the end‘ he sings on ‘A Fragile Thing‘.
Sonically, it resonates as if you’re part of a funeral march that progresses in slow
motion, just the way the music evolves. Every song starts with a long instrumental
intro of waves of melancholic synths and weeping guitars, and every time when Smith‘s feverish voice joins in, the intensity augments wondrously captivating. Only on two tracks Drone:Nodorne and All I Ever Am the pace goes up a bit, but they have the same overall orchestral somber sonority of the full album.
The most drastically soul-stirring record I heard all year, accentuating how sorrow
can overwhelm and hurt one’s heart and mind. It’s a universal experience that millions, and millions of people who lost loved ones – past, present and future – can relate to.
I played Songs Of A Lost World at least 5 times for
4 consecutive days now, always in full, always. I didn’t
do that with any album this year. I can’t see who will top
this sublime opus in the coming 2 last months of 2024.
On November 1st Goth icons THE CURE launch their 14th album, their first
in 16 years. We already got two tasters, two soul-stirring pieces,A Fragile Thing
and Alone (listen below)
Reviews from the mainstream media pour in.
This one is by legendary music website/zine NME
“Robert Smith and co’s first full album in 16 years deals in darkness and death, but
with flowers on the grave. “This is the end of every song that we sing,” mourns Robert
Smith on ‘Alone’, the opening track and launch single of The Cure’s long-mooted first
album in 16 years. A radio-alienating, sprawling and cinematic seven-minute gut-punch, ‘Lovecats’ it ain’t – but it speaks to the heart of ‘Songs Of A Lost World’. Inspired by Ernest Dowson’s poem Dregs, Smith said that this was the lyric that “unlocked the record”: one
that begins with an end.
Catching up with NME at various stops along the long and winding path of making the album, Smith teased that the record would be “merciless” and “express the darker side of what I’ve experienced over the last few years”, drawing more on the sounds of goth-rock standard bearer ‘Pornography’, having lost his mother, father and brother in the latter years since 2008’s ‘4:13 Dream‘. Take a deep breath, we’re going in.
Fontaines D.C.’s Grian Chatten recently told NME how the band’s ‘Romance’ cut ‘Favourite’ compares to the likes of ‘Perfect Day’ by Lou Reed in feeling like both “death itself” and “the final hug” – “the saddest and happiest song possible” all at once. That bittersweetness is an art for The Cure, and you can rank ‘And Nothing Is Forever’ among gems like classics ‘Plainsong’ and ‘Pictures Of You’ as another masterfully euphoric sigh, one that sees Smith waltzing into the winter: “I know that my world has grown cold / But it really doesn’t matter if you say we’ll be together / If you say that we’ll be with me in the end”.
With “the dying of the light”, there is, of course, still some light. There are still pop hooks
in the ticking clock rhythms of ‘A Fragile Thing’, as Smith measures how love is “everything”
but ultimately makes peace with how there’s “nothing you can do to change the end”.
You want more gloom? ‘Warsong’ – a pummelling sludge of noise that mourns “the hope of what we might have been” – leads into ‘Drone_Nodrone’, a wailing, noir rocker with a devious earworm chorus that feels like the impish cousin of ‘One Hundred Years’, ‘Burn’ and ‘Killing An Arab’.
Then, album highlight ‘I Can Never Say Goodbye’ lays waste with an emotional H-bomb.
“As lightning splits the sky apart, I’m whispering his name / He has to wake up,” pleads Smith.
It musters everything he and the band have in the tank to breathe with that deep, dull ache that lingers when you lose someone closest to you: “Something wicked this way comes / To steal away my brother’s life.
The 10-minute opus of ‘Endsong’ – always intended as the album closer – circles back to
that full stop from the start: how we’re all ultimately dust and “left alone with nothing at the end of every song”. Merciless? Yes, but there’s always enough heart in the darkness and opulence in the sound to hold you and place these songs alongside The Cure’s finest.
The frontman suggested that another two records may be arriving at some point, but
‘Songs Of A Lost World’ feels sufficient enough for the wait we’ve endured, just for being arguably the most personal album of Smith’s career. Mortality may loom, but there’s
colour in the black and flowers on the grave.” Score: 5/5.