The sun is shining (where I am anyway), everyone is t-shirt and shorts clad, and it’s been way too long since I’ve written an article. So, what better to do than write about one of the most depressing records of all time to bring everyone reading back down to earth and remind them of our nation’s slow demise into nothingness?
Whatever your view on Brexit, the EU or Boris Johnson’s ever-receding hairline, these are extremely unpredictable yet utterly dull times. Turn on the news, and you’ll get one headline, with the same commentary that’s been relentlessly supplied for the last three years. Did anyone notice the cyclone in Africa? Probably not*. We’re all too bored and fatigued in our own indifference to take notice of anything else anymore, nor are we allowed to take notice of other events.
We are miserable and everything is glum. If only there were a record to aptly sum up the absolute mundanity of it all. If only!
Step back 38 years and enter 1981, the second full year of Thatcher’s reign. After the release of Seventeen Seconds the previous year, it seemed The Cure were no where near finished with their exploits in ethereal elegance, nor with their descent into gothic gloominess. While Seventeen was a dip in the pool of darkness, Faith would be one of the defining moments of goth.
I was 15 when I first listened to this record. A family friend had been pushing me to listen to it as I was on a bit of a Cure phase, though only the happy-sad-lovely hits of the late 1980s. I must admit I expected the same kind of vibes as Three Imaginary Boys, punk with a twist of pop which wasn’t a particular challenge to listen to.
First, I saw the cover of Faith. It’s quite literally 50 Shades of Grey without any of the eroticism (Disclaimer: I’m yet to see or read 50 Shades, and I think this will remain for a while). In terms of album covers that weren’t manufactured to catch your eye with colour and vibrancy, this ranks up there with the most monotonous of them all.
Yet it is a wonderfully fitting preview of what is to come. And the more you look at it, the more you’re kind of dragged into its utter misery. What looks to me like a vague outline of a church with a smattering of angular, dead-looking grass, it’s simply magnificent in its minimalism. Even the writing of ‘faith’ has an aura of total indifference.
Writing this article has made me listen to this album for the first time in ages, and there’s no sweeter welcome back than the throbbing bassline of album opener ‘The Holy Hour’. It ascends and descends wonderfully, before it’s joined by a simple drum groove and gloomy organ line. With a crash, Smith’s guitar enters the fray with crisp chords, and we’re in full motion.
‘I kneel / And wait in silence / As one by one more people slip away’. How’s that for opening lines? The lyrics become more and more gloomy, and Smith’s voice, as ever, is in an absolute league of its own.
Even the bridge, with the high pitched guitar line is simply brilliant. Following this comes the closing lines ‘I cannot hold what you devour / The sacrifice of penance / in The Holy Hour’. The bassline continues valiantly, carrying the tune along with total control and ease, rising and falling majestically before a final hit of the drums, and a weird cross between synth and church bells signals the end of the beginning of a classic record.
With a few dry cuts of strings, in races ‘Primary’, consisting solely of two bass guitars (one high, one low), drums and Smith’s urgent vocals. This has always been one I’ve continuously overlooked and dismissed as a duff track, even as the lead single. But this revisit is teaching me a lesson. The rumble of the battling basslines is irresistible, and the track is a whole is a fantastic doff-of-the-cap to the punk movement, yet made more eloquent, refined and experimental. In all, a stand out moment in the early years of The Cure.
The way the album flows between tracks is something I’ve just noticed, and is marvellous. The gentle fade into ‘Other Voices’ and the ever-powerful Simon Gallup bass introduces the song brilliantly, with Smith now basically shouting down the mic with gentle fuzzy fade outs after each line. As a track, this is one that’s pretty good. To me, as long as the track makes you nod your head along, it’ll do, and I think the nod-ability (if you will) is a motif of the album as a whole. One review states of the album that ‘you may not love it, but you’ll be addicted’, and I think ‘Other Voices’ fits this description nicely.
A few hits of the drums more, and an abrupt end brings the track to a close.
Now we have one of the defining moments of The Cure’s releases. A repeating drum groove (not dissimilar in style to ‘Atrocity Exhibition’) brings us into ‘All Cats Are Grey’, one of the most miserable and destitute songs ever made. Led by an organ riff that invades every corner of the room with overbearing yet gentle force, Smith gently serenades ‘I never thought that I would find myself / In bed amongst the stones’, blending into the onslaught of atmosphere wonderfully. As far as poeticism goes, I don’t think Smith reaches many heights greater than the ones he does on Faith, which is an unrelenting barrage of lyrical and expressive beauty.
A haunting, solo piano line brings it to a close, and what follows is one of my favourite tracks of all time.
The synth-o-meter is whacked up to a thousand, with a fuzzy and warm chord sequence leading the tune into full charge. The bassline is infectious, as is Smith:
‘Two pale figures ache in silence / Timeless in the quiet ground / Side by side in ancient sadness’
‘The Funeral Party’ is, as you may have guessed, so utterly funereal and so utterly stunning. If melancholy needed a theme tune, this would be it. When I first heard this song in my dimly-lit room, I just sat in total awe of what was emanating out of the speakers. Everything about this song is wonderful. Joyously brilliant.
Smith continues ‘Memories of children’s dreams / Lie lifeless, fading, lifeless’. I think the contradiction between the innocence and – dare I say – happiness of the instrumental compared to the sadness of the lyrics is utterly spellbinding. The song drifts gently, swaying without worry before gently disappearing into the distance. Wonderful.
‘Doubt’ bursts in out of no where, catching the complacently relaxed listener off guard. I’ve always hated the fact they put this slab of rough aural assault after such the beauty of ‘The Funeral Party’, and it’s another song I’ve always dismissed, but again I have to confess that I am loving it. It’s got something a bit more sinister and ominous compared to its similarly speedy contemporary ‘Primary’, and Smith’s voice seems to have a childish carelessness unseen on other tracks. Another stunner.
‘The Drowning Man’ starts absolutely brilliantly. Keyboard handclaps are extremely hit-and-miss with me, but combined with the creeping guitar line which grows louder and louder, it’s a brutish but brilliant combination. Smith’s vocals are basically one long, drawn-out drone at this stage, but still work with the backing effortlessly. God, it’s gloomy. This is a track I never ever listen to. Not out of dislike, just out of general ignorance and forgetfulness, but I never remember it being so deathly. It is glorious, mind you.
And after a slow, whirring fade out and four taps of the drumsticks, we are welcomed by the creeping, ever-growing and always wonderful closing track, ‘Faith’. The guitar line, despite revolving around about five notes, always seems to find a way to evolve and develop. Moving up an octave just before the two-minute mark, it continues this exploration of minimal bliss, before Smith joins in with eerie semi-croons, ‘Catch me if I fall / I’m losing hold / I can’t just carry on this way’.
Even this song is surprising me regarding its darkness. I can’t imagine recording this album being a fruitful adventure of emotions or a celebratory process, just a slow descent into complete misery. To close with this six minute stunner is undeniably apt, however. I love the constant repetition of the line ‘but nothing ever changed’, slowly disappearing in the haze of the bass and guitar lines, a mystifying final goodbye from Smith, which returns in the final minute of the song with more urgency and anger, and the single guitar line just after we reach six minutes is indisputably superb.
Heavy drums and ghostly Smith vocals bring the song to a slowing, lethargic end. Eight songs, thirty-six minutes and fifty-six seconds of absolute miserable joy.
Much like my exploits with Joy Division, I held many school friends hostage with this album. ‘Listen to the bassline!’ I’d say to them about ‘The Holy Hour’, but, as ever, worries for my mental state and happiness seemed paramount with others. I mean, I don’t at all blame them, but at least try the music!
Still, this was the moment when I realised goth was for me. I utterly adore the album as a whole – there are certainly tracks that aren’t as strong as others, but as a whole package it’s an absolute masterpiece, and another album which I feel is so overlooked by punk commentators. This record also led me on a journey into darker pastures; my discovery of Siouxsie and The Banshees’ Juju and the fantastic Only Theatre of Pain by Christian Death.
What we have here is a defining record that altered my musical adventures forever, and began my exploration into avenues of melancholy, gloom and beauty.