The Cure is the twelfth studio album by British alternative rock band the Cure. The album was released on 29 June 2004 by record label Geffen, and promoted with the single "The End of the World". The album was entirely produced by American producer Ross Robinson, known for his work with bands like Korn, Slipknot, and Limp Bizkit
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knew how the end always is How the end always is. How the end always is How the end always is How the end always is How the end always is Always is Always is. More on Genius. Disintegration is the title track to its companion album for good reason – it was the launching point for the entire project, which drew inspiration from Robert Smith’s bleak outlook on life as he turned 29 years old in the spring of 1988
end (оригинал The Cure). al. nd (перевод Максим Куваев из Красноярска). Yeah it's a big bright beautiful world. No I don't want another go around. Нет, не хочу еще на круг идти. I want this to be the end. Я хочу, чтоб на этом – всё. I don't want to start again.
The Cure's 1989 album, released during what was arguably the band's peak period, receives a lavish reissue with some terrific bonus material. The late 1980s and early 90s were the Cure’s heyday-from an American perspective. It’s not just that they were making great music; they’d been making great music for roughly a decade already. But these were the years during which they coalesced into this whole iconic thing, the Cure-a sound, a look, and a sensibility that a few kids in every other high school could build whole identities around. Or at least whole wardrobes, decoration schemes, and notebook scribbles.
Disintegration (The Cure album). Disintegration is the eighth studio album by English rock band the Cure, released on 2 May 1989 by Fiction Records. The record marks a return to the introspective and gloomy gothic rock style the band had established in the early 1980s. As he neared the age of 30, vocalist and guitarist Robert Smith had felt an increased pressure to follow up on the group's pop successes with a more enduring work
As always, he was wrong, and in 2004, we updated the piece with Rolling Stone‘s then-recent interview about The Cure. Four years after that, we spoke with Smith yet again about 2008’s 4:13 Dream, their most recent album. In fact, like Faith, Pornography and most of Disintegration, the album is one epic mood piece, wherein the atmospheric collective whole reigns over the individual songs. Before we did Blooflowers I actually wanted it to be short album, because I find that seventy minutes of one artist is, almost without exception, too much.
On first watching A Cure For Wellness most viewers will be clear on how the wellness center is actually a nefarious front for a mad scientist’s plans for immortality. That Hannah is the mad scientist, Volmer’s, daughter. And that Volmer’s trying to have a pure bloodline by eventually procreating with his daughter. What? How is that value charged at the top of the scene? Positive? Negative? Some of both? Make a note. Next turn to the close of the scene and ask, Where is this value now? Positive? Negative? Both? Make a note and compare. If the answer you write down at the end of the scene is the same note you made at the opening, you now have another important question to ask: Why is this scene in my script? If the value-charged condition of the character’s life stays unchanged from one end of a scene to the other, nothing meaningful happens.
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