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Track List
01) Underneath the Stars
02) The Only One
03) The Reasons Why
04) Freakshow
05) Sirensong
06) The Real Snow White
07) The Hungry Ghost
01) Underneath the Stars
02) The Only One
03) The Reasons Why
04) Freakshow
05) Sirensong
06) The Real Snow White
07) The Hungry Ghost
6:17
3:57
4:35
2:30
2:22
4:43
4:29
Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2008
Alternative Rock
Gritty
Rock/Pop
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Album
0 copies
Album Description
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4:13 Dream est le titre du treizième album studio du groupe The Cure sorti le 27 octobre 2008 après de multiples reports.
Plusieurs chansons du disque avaient été jouées précédemment sur scène sous un titre différent. C'est le cas de The Only One connu tout d'abord sous le titre de Please Project, Freakshow s'intitulait Don't Say Anything, et It's Over était Baby Rag Dog Book.
Annoncé un temps comme un double CD, 4:13 Dream sort finalement en format simple. Robert Smith en explique la raison à un journaliste de The Guardian : une mésentente avec Geffen Records au sujet de royalties, et il annonce la sortie d'un autre disque (manifestement retardé) où figureront les chansons non retenues pour 4:13 Dream, comme A Boy I Never Knew régulièrement jouée lors des concerts du 4 Tour en 2007 et début 2008.
User Album Review
A hefty four years and several release date shuffles after the last album finally The Cure's 4: 13 Dream arrives.
Despite a propensity for Smith looking like a slightly more portly cross-dressing Edward Scissorhands and sounding like he's on the verge of tears while singing, it's always been a mystery why The Cure ever got labelled as g*ths. In truth, their earliest work may have existed in the same grey navel-gazing post industrial space as say, Joy Division (cf: Seventeen Seconds), but since the mid 80s Smith has mostly been dealing in the kind of upbeat Cocteau Twins-meets-The 13 Floor Elevators material that was always more baroque and flowery than black and floury. So it is with 4:13 dream. The album's been preceded by a single released on the 13th of each month; beginning with The Only One in May. This is a feisty return to the place where Robert sounds like he's about to burst from whatever it is that's got him in its grip - in this case good old fashioned love. It's a good antidote to the more monumental post rock of the opening Underneath The Stars.
Smith's always worked best in small numbers and the return of Porl Thompson on guitar after 14 years seems to have reinvigorated Smith no end. If there's a period of the Cure that this album most closely resembles it's Wish - their most commercial effort.
In fact most of the album is upbeat - clebrating mental health and bounding with energy. This renewed joi de vivre is expressed best on Sleep When I'm Dead, a song that dates back to the Head On The Door period. Smith claims that he's deliberately edited out the dourer numbers slimming down what was originally pencilled in as a double album, and you can't help feeling that he did the right thing. Freakshow may have a coruscating wah wah solo at its heart - but you could also see Girls Aloud doing a version. Really.
It's not all joyous love songs and latino rave-ups though. The Scream builds from an electro flamenco nightmare to a wailing crescendo, while Switch resurrects those old rock miserablist stand-bys, isolation and paranoia, as its subject. ''I'm tired of being alone with myself'' yelps Bob.
Release delays may often signal dissatisfaction, but judging by reports of a wealth (33 songs) of material it seems to indicate that it was just a crisis of self editing that held up procedings. Luckily it was worth the wait. This is classic Cure, weird, wired and wiggy when it needs to be, but never overly glum, harrowing or serious. Time to get the lipstick out again.
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User Comments
Available in:
4:13 Dream est le titre du treizième album studio du groupe The Cure sorti le 27 octobre 2008 après de multiples reports.
Plusieurs chansons du disque avaient été jouées précédemment sur scène sous un titre différent. C'est le cas de The Only One connu tout d'abord sous le titre de Please Project, Freakshow s'intitulait Don't Say Anything, et It's Over était Baby Rag Dog Book.
Annoncé un temps comme un double CD, 4:13 Dream sort finalement en format simple. Robert Smith en explique la raison à un journaliste de The Guardian : une mésentente avec Geffen Records au sujet de royalties, et il annonce la sortie d'un autre disque (manifestement retardé) où figureront les chansons non retenues pour 4:13 Dream, comme A Boy I Never Knew régulièrement jouée lors des concerts du 4 Tour en 2007 et début 2008.
User Album Review
A hefty four years and several release date shuffles after the last album finally The Cure's 4: 13 Dream arrives.
Despite a propensity for Smith looking like a slightly more portly cross-dressing Edward Scissorhands and sounding like he's on the verge of tears while singing, it's always been a mystery why The Cure ever got labelled as g*ths. In truth, their earliest work may have existed in the same grey navel-gazing post industrial space as say, Joy Division (cf: Seventeen Seconds), but since the mid 80s Smith has mostly been dealing in the kind of upbeat Cocteau Twins-meets-The 13 Floor Elevators material that was always more baroque and flowery than black and floury. So it is with 4:13 dream. The album's been preceded by a single released on the 13th of each month; beginning with The Only One in May. This is a feisty return to the place where Robert sounds like he's about to burst from whatever it is that's got him in its grip - in this case good old fashioned love. It's a good antidote to the more monumental post rock of the opening Underneath The Stars.
Smith's always worked best in small numbers and the return of Porl Thompson on guitar after 14 years seems to have reinvigorated Smith no end. If there's a period of the Cure that this album most closely resembles it's Wish - their most commercial effort.
In fact most of the album is upbeat - clebrating mental health and bounding with energy. This renewed joi de vivre is expressed best on Sleep When I'm Dead, a song that dates back to the Head On The Door period. Smith claims that he's deliberately edited out the dourer numbers slimming down what was originally pencilled in as a double album, and you can't help feeling that he did the right thing. Freakshow may have a coruscating wah wah solo at its heart - but you could also see Girls Aloud doing a version. Really.
It's not all joyous love songs and latino rave-ups though. The Scream builds from an electro flamenco nightmare to a wailing crescendo, while Switch resurrects those old rock miserablist stand-bys, isolation and paranoia, as its subject. ''I'm tired of being alone with myself'' yelps Bob.
Release delays may often signal dissatisfaction, but judging by reports of a wealth (33 songs) of material it seems to indicate that it was just a crisis of self editing that held up procedings. Luckily it was worth the wait. This is classic Cure, weird, wired and wiggy when it needs to be, but never overly glum, harrowing or serious. Time to get the lipstick out again.
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None...
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