Wild Mood Swings

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Le reste est parfaitement dispensable, et même superflu, deservant l'album plutôt que l'inverse. "The 13th", où The Cure se déguisent en mariachis, plus ridicule qu'étrange, sonne comme une tentative ratée de refaire un "The Caterpillar". "Strange Attraction" est absolument insupportable dans le genre pop mielleuse et dansante sans guitare dont Madonna ne voudrait même pas comme face B. Le swing de "Gone!" ne fonctionne pas et est même un peu agaçant.

Audrey Riley's string quartet was chosen for the work: a wise choice, considering Smith's general disdain for classical musicians. Audrey, on the other hand, was very aware of recording for contemporary pop, as you might call it. She's very honest about it, and if they are playing something wrong, then she's not afraid to say so. With the other lot, I had to go in myself and say 'Look, can't you hear that you're playing out of tune?'" Fortunately, my friend Laurel felt the same draw. Oh, the many days and nights we’d whip around in her mom’s jazzy convertible blasting Cure tapes. And, whenever we could get away with it, we’d tie up my parents’ landline, scouring this new thing called the internet, perusing interviews and printing out lyrics and pictures of singer Robert Smith to bursting content.The Cure are certainly a solace in solitude, but also, I fast came to realize, a sublime thing to share. Les titres pop, tiennent plus, justement, de l'amusement que d'autre chose. "Strange Attraction", Mint Car", "Round&Round&Round", "Return" amuseront donc, par leur côté complètement décomplexé, et surtout purement joyeux, ou exaspéreront, au choix.I'd looked through a lot of CDs with strings that I thought sounded good; contemporary stuff, because I didn't fancy working with strictly classical musicians. Initially, Audrey Riley wasn't available, so we got another quartet to come down, but the problem with classical musicians is that they can't play in strict time. Well, they can, but they don't, because they feel it's demeaning. Their tuning was awful as well! Reste (et ce n'est pas rien) la qualité des mélodies. En fait ce sont probablement les titres pop qui ont de quoi déconcerter. Parce qu'en ce qui concerne "Want" et "Trap" par exemple, je les trouve admirablement construits. Et surtout, encore une fois, énergiques. Hannaham, James (July 1996). "The Cure: Wild Mood Swings". Spin. 12 (4): 91 . Retrieved 21 June 2016. On some songs, Robert had specific ideas of what he wanted played. But for other songs I just played along, and it was a perfect experience to be allowed to play what I thought, and see what happened. There were bits that I thought had no chance of staying on which Robert would come down and say he liked. It was very rewarding for me, more so than when I played on Disintegration [The Cure's 1989 album], because then, it was more a case of playing a part that had already been written. This time, it was more creative for me." Happy 25th Anniversary to The Cure’s tenth studio album Wild Mood Swings, originally released May 7, 1996.

Although I think it’s a good record, I don’t look at it as a Cure album. It’s difficult to explain what I mean by that, it’s rather intuitively what I say. The first single, “The 13th,” arrived during spring quarter. Amazingly, I even went to class that late April day before hightailing it to Tower Records and procuring my set of the twin CD singles. Tearing the shrink wrap off en route to my dorm room, I spent the next 12 hours dissecting their contents—various mixes of “The 13th” and 3 B-sides—in unabashed bliss. At the end of 1994, The Cure moved into St. Catherine’s Court, a centuries-old mansion in the Bath countryside, to start work on Wild Mood Swings. They’d taken a similar approach while recording Wish, enjoying the inherent flexibility and fluidity that comes with a secluded, non-studio environment. Although recording mostly took place in the ballroom, dining room and music room, the novel character of the house seems to have permeated the album—another guiding force alongside producer/engineer Steve Lyon. In keeping with the fresh approach to the project, reflected in the choice of recording location, various long‑standing conventions in the Cure's working methods were broken or altered for the making of this album. The working title, Bare, was ditched when it became obvious to Robert Smith that it wouldn't be appropriate for the album's vibe; instead, he substituted Wild Mood Swings, originally the title of a solo album he started writing 10 years ago. The band also chose to work for the first time with producer/engineer Steve Lyon, best known for his work with Depeche Mode. Smith clarified the group's reasons for the new choice:

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Mixes were laid to half‑inch tape at 15ips, not in an attempt to add warmth to the ADAT recordings, but merely as a long‑term preference of both the band and Lyon. Smith: "With half‑inch tape, at least you get a decent‑sized box, which feels like it's worth something. A DAT is like a Swan Vestas box! I regret the demise of vinyl albums as well — they're so big they actually meant something, and the artwork looked good. The Cure are the great survivors of the punk era. They have been together — albeit with an ever‑changing line‑up — for nearly 20 years, during which time their mix of gothic, independent, and quirky pop styles has allowed them to transcend the vagaries of fashion and enjoy enormous, and continuous commercial success. The Head On The Door avait laissé sur le carreau pas mal de fans de la première période, par son virage pop, mais sans aucun doute aussi de par son changement de batteur. On ne peut pas dire que Williams et Tolhurst étaient de la même école ! And, with that, Smith turned his mind away from The Cure for a change, retreating into idyllic domesticity, cavorting with his 17 nieces and nephews and catching up with old friends. Club America": ça ne sonne pas comme du Cure mais cela reste un morceau plaisant et efficace. J'adore la façon de chanter de Smith.