Welcome to part two of my review of Disintegration, a Cure album released in 1989. Enjoy!
I had to rewrite it three times because it kept being deleted. (:
Track Six: “Lullaby”
Duration: 4:08
Initial Thoughts
The hook immediately reels in listeners, an eerie stringed instrument later paired with Robert Smith’s whispered vocals. Overall, “Lullaby” plays as an incredibly rich blend of plucked and soaring strings, all tied together by heavy, methodical bass and flat, snapping drums. Horror poetry at its finest, this track deviates from the album’s established sound, possessing an ambiance unique to no other song. “Lullaby” reaches an odd comfort in the depths of unease. It is of fear, of fascination. And as a result, you find yourself swaying to the morbid melody—slipping into the groove, submerged in Smith’s terrified voice.
Lyrics
“Lullaby”
(I spy with my little eye)
(Something beginning with S)
On candy stripe legs the spiderman comes
Softly through the shadow of the evening sun
Stealing past the windows of the blissfully dead
Looking for the victim shivering in bed
Searching out fear in the gathering gloom and suddenly!
A movement in the corner of the room!
And there is nothing I can do
When I realize with fright
That the spiderman is having me for dinner tonight!
Quietly he laughs, shaking his head
Creeps closer now
Closer to the foot of the bed
And softer than shadow
And quicker than flies
His arms are all around me and his tongue in my eyes
“Be still be calm be quiet now my precious boy
Don’t struggle like that or I will only love you more
For it’s much too late to get away or turn on the light
The spiderman is having you for dinner tonight”
And I feel like I’m being eaten
By a thousand million shivering furry holes
And I know that in the morning
I will wake up in the shivering cold
And the spiderman is always hungry…
(Come into my parlour)
(Said the spider to the fly)
(I have a little something here)
Typical of Robert Smith, a myriad of interpretations surround this track. Perhaps the lyrics depict a horrific nightmare. Perhaps the lyrics follow a child cowering in bed, terrified by their own imagination: “On candy striped legs, the spider man comes…”. Perhaps the lyrics do not regard a child at all; following instead an adult struggling with mental afflictions or, as some speculate, an addiction. Or perhaps the lyrics speak of something far more malicious and even gory. Whatever the intent, Robert Smith’s talent is utterly undeniable.
The Literary Prowess of “Lullaby”
- “…Softly through the shadow of the evening sun
Stealing past the windows of the blissfully dead…”- Through the repetition of the letter S along with a few literary devices, Smith achieves a satisfying lyrical sound.
- “And softer than shadow
And quicker than flies
His arms are all around me and his tongue in my eyes”- This segment successfully contributes to the uneasy atmosphere of “Lullaby”—augmenting the situation to something dire in a way that listeners feel every ounce of fear.
Overall
A Cure classic, “Lullaby ” does not disappoint. It possesses a certain allure despite its disturbing nature, a morbid fascination that persuades listeners to sway in a blurred state of doom. “Lullaby” is outrageously groovy as it is terrifying, and its incredibly rich sound intrigues like no other. Smith’s unsettling vocals deserve dissection and appreciation, and the overall effect produced by his warped, hushed voice enriches the experience of “Lullaby”. All in all, this track belongs to my list of favorite Cure songs. I have endless appreciation for the impeccable lyrics and smooth yet jittery beat. Now I want a Disintegration record to play during chocolate cake eating sessions where I stare at an unfinished essay while blasting “Lullaby”—to cope, of course.
Track Seven: “Fascination Street”
Duration: 5:16
Initial Thoughts
What a masterpiece…”Fascination Street” steals the spotlight with its absolutely stellar body of sound. A grinding bass demands attention, driving the beat, and adamant electric guitars vie for priority. A simple but effective drum beat adds incredible flavor, as does Robert Smith’s bold vocals. This song ends too soon, taking its entrancing rhythms and sweet guitar voices with it. Although Smith’s vocals add a certain spice that characterizes the Cure, “Fascination Street”‘s instrumentals never fail to steal hearts.
Lyrics
“Fascination Street”
Oh, it’s opening time
Down on Fascination Street
So let’s cut the conversation
And get out for a bit
Because I feel it all fading
And paling and I’m begging
To drag you down with me
To kick the last nail in
Yeah, I like you in that
Like I like you to scream
But if you open your mouth
Then I can’t be responsible
For quite what goes in
Or to care what comes out
So just pull on your hair
Just pull on your pout
And let’s move to the beat
Like we know that it’s over
If you slip going under
Slip over my shoulder
So just pull on your face
Just pull on your feet
And let’s hit opening time
Down on Fascination Street
So pull on your hair
Pull on your pout
Cut the conversation
Just open your mouth
Pull on your face
Pull on your feet
And let’s hit opening time
Down on Fascination Street…
…On Fascination Street
Yet again, Disintegration‘s tone shifts. Robert Smith abandons the belittled terror of “Lullaby” to embrace something dramatic and a bit dec. Despite their vague read, the lyrics suggest a place of oblivious, carefree fun infatuated with all things frivolous and gaudy. Daring but laced with, perhaps, a regrettable edge, “Fascination Street” joins the Cure’s 1989 album boastfully—a successful hit.
I admire how Smith effortlessly incorporates his vocals into the sound. First and foremost, his lyrics exist flawlessly alongside the riveting pulse of the song, Smith’s words clarifying the drama foretold by guitarists and percussionists. Not only this but I admire the ease Smith has when matching his lyrics to the intensity of the instrumentals—it is honestly immaculate. The vocals and instrumental voices are one pitch, seamless in their separation.
Overall
I love the heavy bass that saturates the entire track and establishes a serious tone. High-strung guitars whine and dance in a mood set by the bass that leaves nothing untouched. “Fascination Street” exists as a dramatic experience dripping in excess; it is an ocean of complexity and disaster. I must say, out of all the tracks on Disintegration, this one provides the most infectious, dance-inspiring rhythms. A dance or bobbing head to “Fascination Street” is irresistible, and I love the bass and Smith’s vocals. I can not possibly express my adoration for the amazing pitch and tone. Often times, I listen to this track and slip into the sound, forgetting all of my obligations.
Track Eight: “Prayers for Rain”
Duration: 6:05
Initial Thoughts
Listen to this track with a sufficient sound system and a volume raised to one hundred! The introduction is mystifying, its tense climb building towards a sonic, reality-altering bass. The tempo is methodical, dark, assured. The beat is forlorn, caustic. Robert Smith’s lyrics add a touch of spite and clarity that enhances the backdrop of heavy, authoritative sound. All in all, “Prayers for Rain” is an intense, flavorful masterpiece that is very much aware. I highly respect the quality of this song, and it lives among my all-time Cure favorites as well. I can not get enough bass.
Lyrics
“Prayers For Rain”
You shatter me your grip on me a hold on me so dull it kills
You stifle me infectious sense of hopelessness and prayers for rain
I suffocate, I breathe in dirt and nowhere shines but desolate
And drab the hours all spent on killing time again all waiting for the rain
You fracture me your hands on me a touch so plain so stale it kills
You strangle me entangle me in hopelessness and prayers for rain
I deteriorate I live in dirt and nowhere glows but drearily and tired
And tired the hours all spent on killing time again all waiting for the rain
You fracture me your hands on me a touch so plain so stale it kills
You strangle me entangle me in hopelessness and prayers for rain
Prayers for rain…
Smith’s lyrics read as prose, loose and undefined—almost a stream of consciousness. Unlike in “Fascination Street”, Smith’s vocals separate from the instrumental voices; he intends for the lyrics to stand out. His words are restrained but reflective and full of feeling. As the lyrics are as vague as other Cure songs, I have only interpretations.
The narrator is involved in something quite unpleasant—tied to someone or something, a “you”—that they wish to escape. The detriment in question has an iron hold on the narrator, so much that the narrator prays for “rain”. After examining the lyrics, I infer that the narrator is experiencing a drought of sorts; rain is the relief. Smith also repeats the following words: dirt, stale, kills/killing. Smith also features feelings of suffocation as well as the dimming and deterioration of something. The narrator is broken, ripped inside and out, fractured, strangled. With strong, captivating language, Smith paints a desperate scene of realization.
Overall
I greatly admire Robert Smith’s attention to the vocals. His words play as thoughts bubbling and bursting in a mind or an argument. With the added meaning of Smith’s beautifully sung lyrics—I love, love, love his voice—”Prayers for Rain” draws listeners into a contemplative mixture of soaring, sonic sound that resonates long after the six minutes conclude. The overall sound is incredibly rich and meditative, and I personally find myself absorbed into this grand world of immense, pessimistic feeling. “Prayers for Rain” exists, in my opinion, as one of the Cure’s most masterfully created songs. I thoroughly enjoy raising my headphones’ volume to a dangerous level and picking apart every minute, savory detail. I love this song! It has such a hypnotic sound.
Peace Out
See you all soon for part three! Only four songs remain…then I have other plans (dun dun dun). Have a good day and know that you are all loved and special. (:
