Back catalogue: All genres

Review: Just when you thought you'd heard Robert Smith and The Cure every which way but bad, we discover more from their huge back catalogue. This time in the form of World War, a compilation of rare demos that takes its name for the band's seminal early single, which appears in a particular raw and unfettered, grinding version on this collection. A sound that defines the overall aesthetic. Rough and ready but packed full of energy, the huge landmark 'Boys Don't Cry' feels more intimate as a result, 'Fire In Cairo' arguably more punk, 'M' more New Romantic, and 'Heroin Face' less compromising than ever before. If all that sounds like bullshit talking, we implore you to take a listen and see what you think - the smart money is on us agreeing in the end.

Review: The Cure have a lot of iconic moments from throughout their career, starting with the angular goth rock of their early years right through to their long-standing position as headline treasures of British alternative music. Originally released in 1992, Wish marked their move towards a poppier sound, and 30 years on it still ranks as their most successful album to date. This reissue gives Wish the pomp and ceremony it deserves, letting perennial classics like 'Friday I'm In Love' shine anew for lifelong fans and newcomers alike.

Review: Songs Of A Lost World is Robert Smith and co's first studio record since 2008. In the lead-up to the release, the band dropped cryptic social media hints, mailed postcards revealing the album's title and release date, and even placed a poster at the pub where they played their first show in Crawley. Recorded at Rockfield Studios in Wales, this album is the band's 14th, featuring the core lineup of Robert Smith, Simon Gallup, Jason Cooper, Roger O'Donnell, and Reeves Gabrels. Smith, together with producer Paul Corkett, oversaw the arrangements, while long-time collaborator Andy Vella designed the album's artwork, which showcases Janez Pirnat's 1975 sculpture Bagatelle. Smith has stressed that identifying the opening and closing songs is crucial for the album's development. A record that digs deep into darker, more personal themes, echoing the intensity of their earlier work, the release also includes two live tracks, 'And Nothing Is Forever' and 'I Can Never Say Goodbye', from their Shows Of A Lost World tour.

Review: This live album captures the raw energy and emotional depth of a legendary goth band's performance, showcasing their latest work in its full, unfiltered glory to an intimate crowd (albeit with a massive global streaming audience). Debuting the entire new album for the first time to an eager London crowd, the band delivers a powerful, immersive experience. Tracks like 'Alone' and 'End Song' stand out as some of the most hauntingly beautiful and intense pieces in the band's catalogue, with the live setting amplifying their emotional weight. The band's iconic sound, a blend of atmospheric melancholy and brooding intensity, resonates deeply, drawing the audience into every note and lyric. The live rendition of these songs adds a new layer, with the crowd's energy and the band's commanding performance elevating the material. Since its release, the accompanying live album has been met with widespread acclaim, charting in the top five across numerous countries, proving that the band's impact remains as potent as ever.

Review: Amsterdam has two celebrated, long standing venues - the Paradiso and the Melkweg - and this 1979 broadcast caught the soon to be huge Cure in action in the latter, way more intimate one. It's a collection of the tracks that made the early part of their career as a wiry, lean three post-punk piece more than goth behemoth - 'Killing An Arab', '10:15 Saturday Night', 'Boys Don't Cry' and two speedy versions of 'A Forest' that both come in under five minutes (as opposed to the latter versions that are closer to ten) all figure. It's a period that has its own, rather different following to the normal Cure legions, and this display of sharp pop sense and its jagged approach to sonics showcases just why that is.

Review: Japanese Whispers stands as a crucial juncture in The Cure's evolution, capturing a transformative period for the band. Amidst lineup changes and creative exploration, this compilation album bridges their gothic roots with a newfound synth-pop sound. Tracks like 'Let's Go to Bed' and 'The Lovecats' showcase Robert Smith's emerging versatility as a songwriter and producer, marking a departure from their earlier introspective rock. Despite its status as a compilation, Japanese Whispers is a gem often overlooked for its significance. This reissue offers fans a chance to rediscover its brilliance. With its effervescent melodies and cheeky nods to jazz and dance music, Japanese Whispers laid the groundwork for The Cure's future endeavors and remains a testament to their enduring influence.

Review: This multi-volume series captures various different parts of one of the many seminal gigs that UK indie sad-sacks The Cure played around the world. In particular, this captures the action from a legendary night in Leipzig, Germany. Much like the first two volumes, the third is a brilliantly well received album that is alive with energy and the rawness of the gig but never at the expense of any of the frets of melodies. From 'In Your House' to original classics like '10:15 Saturday Night' and the enduring favourite 'Boys Don't Cry', this is a great record of a great band in great form.

Review: Happy Man are not two words you would usually associate with The Cure frontman and emo poster boy Robert Smith, but this live album is named after their 1984 track 'Happy The Man', naturally enough included here. This selection was recorded while the group was on a third tour of the US having already made a big name for themselves off the back of their recently released 1984 studio record The Top. The fan based turned out (and then some) and got to hear classics such as 'Let's Go To Bed', 'Boys Don't Cry' and a live version of 'Killing An Arab', which closes out this set. A crucial one for diehard fans and curious listeners alike.