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. Exit les guitares héritées du shoegaze de Wish. Seule bonne idée : l'utilisation de cordes, pour la première fois dans l'histoire du groupe. On se souvient d'ailleurs que Robert Smith avait en tête un album solo avec guitare folk et cordes, on n'en est ici pas très loin... Vaziri, Aidin (5 May 1996). "The Cure Keeps Its Edge". Houston Chronicle . Retrieved 20 September 2017. Austriancharts.at – The Cure – Wild Mood Swings" (in German). Hung Medien. Retrieved 10 December 2013.

Want": J'accroche direct sur ce morceau qui reste de loin, mon préféré sur cet album. L'émotion est présente. Robert Smith chante comme un enragé. Les guitares sont omniprésentes et les claviers du revenant Roger O'Donnell se font discrets mais efficaces. Pour une entrée en matière, on est gâté !

Wild Mood Swings received a mixed response from critics. A favourable review came from Trouser Press, which described the album as "a potent and sweeping dissertation on melancholy and tentative dreams denied", calling it "consistently compelling". [14] However, the album was the lowest-selling Cure album in 12 years, and it marked the beginning of a downward trend in the Cure's future album sales. [15] Salaverrie, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (in Spanish) (1sted.). Madrid: Fundación Autor/SGAE. ISBN 84-8048-639-2. I like to work out the melody lines and how they are going to work with each other, but I don't tend to bother with the drum patterns much — I keep it as simple as possible, because working with a drummer, it would be pretty dumb for me to say 'Here's the drum part.' I've tried to relax a bit more about the whole thing, even though there are key elements. When I'm doing demos at home, it's generally after a few drinks, so I want the simplest route from playing something to getting it on the tape.

Mon but n'est pas de vous prouver que ce dernier est le meilleur album du groupe (j'aurais du mal), mais simplement de vous redonner envie de le réécouter. Peut être y verrez vous alors les mêmes qualités que moi. 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.

I also use the Mac, with Alchemy editing software, to juggle samples round in the EIV. I just send a stereo feed out, much to the dismay of the front of house sound engineers, who usually want a feed pre‑master level. I always run up against this, because they seem to think that you're going to ride the master volume pedal, but I don't — I just need to fade out the tails of strings and stuff. I'm not really one for quantising — I don't see the point in recording a part, quantising it, and then putting human feel on it! But then I'm from the old school, even though I've been using Mark Of The Unicorn's Performer and a Mac since 1987. Imagine “Wild Mood Swings” released in an entirely different configuration, led by “A Pink Dream” as first single, then “Return” as the follow-up. Up to par with their finest work? No. But far better than what was released, and an album that would be a worthy successor to “Wish” in the band’s discography:

Les autres titres mélancoliques ("This Is a Lie", "Jupiter Crash", "Numb" et autres "Treasure" ou "Bare") brillent de par la beauté sobre de la guitare acoustique, jamais utilisée de cette manière auparavant. La basse de Gallup y est souvent très inspirée et a un son superbe.

After a few years with a seemingly ever‑changing list of members, The Cure sported a new line‑up for the making of this album: Robert Smith (guitar, vocals), Simon Gallup (bass), Perry Bamonte (guitar and some keyboards), and Jason Cooper (drums), with Roger O'Donnell returning to carry out main keyboard duties after a five‑year absence from the group. It was Roger who acted as my host for a short guided tour of St Catherine's when I arrived there to meet the band and their producer/engineer Steve Lyon. As Roger explained, the beauty of the setting had proved to be both a help and a hindrance to the recording: But then things go awry. The rest of the album is a haphazard collection of varying styles — and in that way it’s no different than many of their prior albums, but in this case some of the material just isn’t up to par. Particularly atrocious is “Gone,” a throwaway that was somehow deemed worthy not only to be on the album, but to be a single. “Strange Attraction” is one of the band’s weaker attempts at a pop hit, and the utterly inconsequential “Mint Car” is a pale imitation of far better guitar-based pop songs like “Inbetween Days” and “Friday I’m in Love.” Album closer “Bare” is an 8-minute slog ––“Bore” would have been a more appropriate title.

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. Eighteen years into their stunning career, The Cure released their tenth studio album, Wild Mood Swings. Cosmic forces had finally aligned, for I was 18 years old, too. And, my favorite band and I had finally caught up in time.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.