In Strict Tempo, vol. 50:

It’s all about one thing in this weeks In Strict Tempo - a first Cure album in sixteen years. And it’s a double celebration, I suppose, as In Strict Tempo reaches fifty. Never did I think I’d keep this up for almost a whole year, and I’m even more surprised that people actually wanted to subscribe to and read my thoughts, so thankyou all - from the bottom of my heart - for that.

Anyway, The Cure: I’ll be honest here, for a long time in my teens and early twenties I dismissed the Cure as a goth band with one pop hit. I knew Friday I’m In Love, I knew Just Like Heaven from the Video Days skate video (albeit Dinosaur Jr’s cover version), but I didn’t know too much else. It was only after really sitting down and listening to them that I began to peel away that prejudice and discover them for what they are, one of the finest bands this country has ever produced.

I wish I could tell you my Cure origin story and how I discovered them and they changed my life or something like that, but it’s really not that interesting. A friend gave me a copy of Disintegration, told me that as I liked New Order/Joy Division I’d definitely like the Cure. I was a little sceptical at first but that soon went away, basically from the moment Plainsong started. It’s still one of the best openers of any album, ever, and back in 2011 they kicked off their set at Bestival with it which remains one of my favourite festival memories.

So this new album then. It’s brilliant. A few people have said it’s their best since Disintegration and I’m probably inclined to agree. It’s not *as* good as that, because let’s face it, little else comes close, but on the two listens I’ve had this morning it’s definitely up there with their best. And this coming from someone who really enjoyed 4:13 Dream. Sound-wise, it’s epic. It sounds like it could have been recorded in 1989 or 2024 but no other year. If all music was this good there’d be no need for stuff like Coldplay.

Show Me, Show Me, Show Me How You Do That Trick

Obviously i’m filling this weeks playlist with Cure tracks, even the obvious ones because it’s all I’ve listened to all week. But there’s plenty more good stuff doing the rounds.

Eros - Your Truth Is A Lie [Downwards]

I think Boomkat said it best: Regis as frontman is the best Regis there is. Anyone who’s seen BMB live would almost certainly agree with me, and Karl again takes centre stage on his Eros project with Einsturzende Neubaten’s Boris Wilsdorf and Liam Andrews of My Disco. This is pitch-black gothic post-punk at it’s edgiest, it’s most Nosterafu-esque and it’s no coincidence it came out the day after Halloween. Like pretty much everything on Downwards this year: essential.

Beatrice Dillon - Seven Reorganisations [Hi]

Beatrice Dillon launches her new label with this piece originally commissioned by Mark Fell. Entirely acoustic, don’t go expecting anything like her album on PAN or the 12” on Hessle Audio. Still well worth a listen, especially if you’re into contemporary classical and modern composition.

Annie Hogan - The Colours of Darkness [Reel Torque]

No digital here, but an excuse for me to playlist Temporary Thing again. The last couple of Reel Torque tapes Annie has released have been absolutely incredible. I’ve not heard this one yet but it’s on my shopping list.

Dinosaur - Kiss Me Again [Week End Records]

I’ve mentioned in the past how I struggle with some of Arthur Russell’s stuff. Not this however, one of the greatest disco tracks ever committed to wax, in all it’s thirteen minute long glory, officially reissued.

Voice Actor - Barbara [Stroom]

That last Voice Actor album ranked highly for me last year so I’m expecting good things from the next one on Stroom. This first single sounds like I won’t be dissapointed.

LCD Soundsystem - x-ray eyes [DFA]

A new one from LCD Soundsystem is always gonna get me listening. Can you make a throwback LCD record? Can you pastiche a pastiche? This sounds like it could have made their first album, it’s pretty decent, but not up there with their best.