The darker underpinnings of our histories often give birth to profound artistic expression. The origin story of Devo has its roots in the tragedy at Kent State University on May 4, 1970. On this fateful day, the National Guard fired on protesting students, leaving four dead. It was a moment that revealed the chasms and tensions of American society. Kent State student Jerry Casale was a witness to this chaotic bloodshed, a mere stone’s throw away from the gunfire. Kent State deeply affected Casale and classmate Mark Mothersbaugh, serving as a catalyst for the band’s formation and philosophy, as well as personal awakening.

Casale and Mothersbaugh roped in family and friends, creating an art/music collective called Devo, which revolved around the concept of “de-evolution” — the idea that instead of evolving, society was regressing. This theory became central to the band’s ethos and music. Devo had a strong mission to reflect the absurdities and tragedies of modern life, encapsulated in their unique, innovative sound and Kraftwerkian aesthetic.

Donning peculiar identical yellow jumpsuits and ‘energy dome’ hats, creating avatars such as “Booji Boy,” and bringing a much-needed levity in a mainstream music world saturated with sentimental soft rock and macho posturing, Devo brought to light the idea that humanity’s pompousness was a ruse, with their biting wit, disdain, and bizarre imagery. They fused art rock, early synthpop, and the avant-garde, even dissecting classic covers beyond recognition. Playing Mick Jagger their bizarre cover of (I Can’t Get No) Satisfaction was the stuff of legend:

“He was just looking down at the floor swirling his glass of red wine,” Casale recounted in an interview with The New Yorker. “He didn’t even have shoes on, just socks and some velour pants. I don’t know what his habits were then, but this was early afternoon and it looked like he had just gotten up….he suddenly stood up and started dancing around on this Afghan rug in front of the fireplace…the sort of rooster-man dance he used to do, and saying (in Jagger’s accent)—“‘I like it, I like it.’

While contemporary critics largely failed to grasp their concepts or (infamously, in some cases) embrace their sound, DEVO did have one commercially successful number in “Whip It.” Nevertheless, Devo churned out dozens of clever songs with the same satirical creative fervour of contemporaries Sparks, The Residents, and Frank Zappa – and later acts such as They Might Be Giants. Like the Velvet Underground, DEVO’s biggest recognized contribution to music (and music video) has been the imitators they spawned – but their consistent brilliance has never dimmed in their five decades.

They tackled everything from the follies of religion, to the motives of mankind, to ableism in the workplace, long before the words had entered the lexicon or bills had entered the halls of Congress. Many of their songs had performance art clips accompanying them, years before MTV had even been conceived, they already were fluently speaking the visual language, if not creating it outright.

Fifty years have passed since Devo was launched, and as they wind down their touring legacy with their final run, they are giving the world a parting gift in the guise of a new box set, 50 Years of De-Evolution (1973-2023), out October 20th via Rhino.

The collection features 50 songs across four vinyl LPs or 2 CDs, with songs from every era of the band, including hits, deep cuts, and rarities — such as the 7″ mix of “Disco Dancer” from 1988’s Total Devo,

“This box set represents a great cross-section of early experiments and later creations,” says Mark Mothersbaugh. “I was looking to create a new sound, a concept in art and music that represented a new way of thinking about life on planet earth. With Devo, I think we did just that. Farewell to the first 50, Let’s get the next 50 started!”

The Deluxe Edition, which is limited to 3000 copies worldwide, comes in a slipcase with a 28-page book…but the pièce de résistance? A Devo air freshener, perfect for those days when life smells a tad too mundane. To top it off, there’s a quaint foldable paper hat, an homage to Devo’s unmistakable red energy domes.

In addition to the more extensive four-disc package, there’s a 2-LP, 25-song version of this set.

Pre-Order Here

50 YEARS OF DE-EVOLUTION (1973-2023) Track Listing

LP One:

Side One

1. Mongoloid – Warner Version
2. Jocko Homo – Warner Version
3. (I Can’t Get No) Satisfaction
4. Come Back Jonee– Single Edit
5. Secret Agent Man
6. The Day My Baby Gave Me A Surprize

Side Two

1. Smart Patrol
2. Girl U Want
3. Whip It
4. Freedom Of Choice
5. Gates Of Steel
6. Working In The Coal Mine

LP Two:

Side One

1. Beautiful World
2. Jerkin’ Back ’n’ Forth
3. Through Being Cool
4. Love Without Anger
5. Time Out For Fun
6. Peek-a-Boo!
7. That’s Good

Side Two

1. Big Mess
2. Here To Go – Go Mix Version
3. Are You Experienced?
4. Disco Dancer – 7” Version
5. Post Post-Modern Man – Macro Post-Modern Mix
6. Fresh

LP Three:

Side One

1. I’m A Potato – 1974 Demo
2. Mongoloid – Booji Boy Version
3. Jocko Homo – Booji Boy Version
4. Be Stiff – Stiff Version
5. Uncontrollable Urge
6. Gut Feeling / (Slap Your Mammy)

Side Two

1. Triumph Of The Will
2. Soo-Bawlz
3. It Takes A Worried Man
4. Snowball – Single Remix
5. Mr. B’s Ballroom
6. Going Under
7. One Dumb Thing

LP Four:

Side One

1. Speed Racer
2. Theme From Doctor Detroit – Dance Mix
3. Shout
4. Puppet Boy
5. I Wouldn’t Do That To You
6. Bread And Butter

Side Two

1. Let’s Talk
2. Baby Doll – Devo Single Mix
3. Some Things Never Change
4. What We Do – Single Edit
5. No Place Like Home
6. Watch Us Work It

50 YEARS OF DE-EVOLUTION (1973-2023)
2-LP Track Listing

LP One:

Side One

1. “Mongoloid” – Warner Version
2. “Jocko Homo” – Warner Version
3. “(I Can’t Get No) Satisfaction”
4. “Come Back Jonee” – Single Edit
5. “Secret Agent Man”
6. “The Day My Baby Gave Me A Surprize”

Side Two

1. “Smart Patrol”
2. “Girl U Want”
3. “Whip It”
4. “Freedom Of Choice”
5. “Gates Of Steel”
6. “Working In The Coal Mine”

LP Two:

Side One

1. “Beautiful World”
2. “Jerkin’ Back ’n’ Forth”
3. “Through Being Cool”
4. “Love Without Anger”
5. “Time Out For Fun”
6. “Peek-a-Boo!”
7. “That’s Good”

Side Two

1. “Big Mess”
2. “Here To Go” – Go Mix Version
3. “Are You Experienced?”
4. “Disco Dancer” – 7” Version
5. “Post Post-Modern Man” – Macro Post-Modern Mix
6. “Fresh”

The post Devo Announce “50 Years of De-Evolution” Box Set appeared first on Post-Punk.com.

Casale recalls how both artistic vision and clever subversion shaped Devo’s debut performance. The band adopted the “Sextet” title to qualify for the arts festival, as the university gatekeepers regarded it as “art” and not merely rock ‘n’ roll. The eclectic setlist and a lineup featuring Casale on bass, his brother Bob Casale and Bob Lewis on guitar, Fred Weber on lead vocals, Rob Reisman on drums, and Mark Mothersbaugh on keyboards showcased their early explorations in sound and style.

The group performed for a small audience of around 20 students, as they tackled mid-tempo experiments like “Wiggle Worm” and “What Goes Up Must Come Down,” along with a folk-rock piece titled “River Run.” However, it was a malfunctioning Minimoog synthesizer, operated by Mothersbaugh (disguised in a chimpanzee mask), that produced a moment of pure, unadulterated Devo perfection. The band embraced the chaos, with Casale later describing the incident as “devolved genius.”

From this unconventional start, Devo went on to develop their unique critique of technology and conformity culture, spreading the gospel of devolution throughout their career. Casale’s retrospective offers not only a fascinating glimpse into the origins of the band but also valuable lessons for artists. He advises others to sing their own songs, not to be discouraged by doubt and fear, and to practice, do more, and talk less.

To celebrate this golden milestone, fans can enjoy Casale’s full account of Devo’s initial performance on his official site, where he’s dubbed it “50 Years of DEVOlution.” Don’t miss the opportunity to witness the beginning of Devo’s journey by watching the 50-year-old footage of Devo Sextet at Kent State below.

Exactly 50 Years ago today:

“The 1st DEVO Show” by Gerald V. Casale

At Kent State University’s 1973 Creative Arts Festival, we were the “Sextet Devo.” Why was it a sextet? Because my bandmate said that I couldn’t sing……..

CONTINUE READING HERE: https://t.co/KAiKbhmjGy pic.twitter.com/2MaHJ8uJDy

— DEVO’s Gerald V. Casale (@Gvc3Casale) April 18, 2023

The post Today is the 50th Anniversary of DEVO’s First Gig — Watch The Concert Footage from 1973! appeared first on Post-Punk.com.

In 1983, Irish post-punk band U2 famously honored the memory of the lives lost during the massacre with their song “Sunday Bloody Sunday”. Now, to mark the anniversary of the horrific event, U2 took to social media to unveil a sombre acoustic performance of a modified version of the song led by Bono and The Edge.

Watch the clip below:

30 January 2022 – With love, Bono & Edge pic.twitter.com/7hOVk1w3fa

— U2 (@U2) January 30, 2022

The post U2 Perform an Acoustic Version of “Sunday Bloody Sunday” to Mark 50th Anniversary of Massacre appeared first on Post-Punk.com.

Originally released on May 2nd, 1989 the LP is said to be part of a trilogy involving Bloodflowers and Pornography—but perhaps the record is closer in overall tone to Faith, Disintegration nevertheless continues the pop sensibilities established on The Head on the Door, and amplified on Kiss Me Kiss Me Kiss Me, with Disintegration’s “Love Song”, matching “Just Like Heaven” as one of the greatest love songs of all time.

And the connection between both “Love Song”, and “Just Like Heaven” is augmented by the fact that Robert Smith’s wife Mary’s appearance in the 1987 video for “Just Like Heaven”, dancing with Robert on the cliffs of Beachy Head, with the following year seeing Smith pen “Love Song” as  a wedding present to Mary.

“Lullaby”, the album’s most playful track, perhaps rivaling songs like “Love Cats” and “Why Can’t I Be You” as most playful in the band’s entire catalog, remarkably does not feel out of place on the album.  Apparently a metaphor for Robert Smith’s drug-addled past, the song and video are like the works of Heinrich Hoffmann or Edward Gorey come to life.

“Fascination Street” has yet another trademark Cure bass line, with very suggestive lyrics.

The inspiration of the “Pictures of You” came about when a fire broke loose in Robert Smith’s home. In the aftermath, Smith was going through the charred remains and came across his wallet which had pictures of his wife, Mary.

The cover of the single is one of the pictures. This very same picture was in fact used as the cover of the “Charlotte Sometimes” single,  but with the picture clear and undistorted.

The opening track “Plainsong” was in recent years featured in the climactic scene in the Marvel film Antman, and the song “Prayers for Rain” was the inspiration for the name of the album’s Prayer Tour.  

Along with the remaining flawless songs “Untitled”, “Homesick”, Closedown”,  and the heart wrenching title track “Disintegration”, strong attention must be paid to  “The Same Deep Water as You”,  which if looked at with along with the album’s cover artwork, one can surmise that despite the title Disintegration representing the crumbling pieces of a photograph after a fire, the album’s true element is water.

Watch this Prayer Tour era full set from 1990 to celebrate the anniversary of The Cure’s Disintegration.

The post The Cure | Disintegration appeared first on Post-Punk.com.

Besides Wayne Hussey’s first part of his autobiography “Salad Daze”, and the successfully crowdfunded as well as highly anticipated “Paint My Name In Black And Gold” of Mark Andrews, which will hopefully see the light of day in 2021, last year also saw the release of the excellent “Waiting For Another War” biography, covering the first five years of The Sisters Of Mercy – from 1980 to 1985. The announcement of the book came pretty much out of nowhere, the first edition was gone within a few hours, and the world-wide response to author Trevor Ristow’s work couldn’t have been more enthusiastic. Trevor was kind enough to give Post-Punk.com a few insights into what led to the publishing of “Waiting For Another War”, background into his writing, and a small outlook possible Volume 2.

First question right off the bat: Were you surprised by the vast international feedback to “Waiting For Another War”, your book on the first five years of the history of The Sisters Of Mercy?

Yes, I was very pleasantly surprised. It’s easy to think of a book about The Sisters Of Mercy as an extremely niche thing when you live in the US, where the fanbase is dedicated but small. At first, my print run was going to be 100 copies, but the cost per book was prohibitive so I took a gamble and printed 200 instead. I put up a single, short post on a Sisters Facebook group, with no roll-out whatsoever, and they all sold within a few hours. Nearly every copy went to the UK or the Continent. That was my first inkling that I had underestimated the appetite for the book abroad.

When did you first play around with the idea of writing a book on one of your most favorite bands?

I started writing this book at the end of 1999 after I organized my sprawling collection of Sisters cuttings into binders. I sat down at my messy desk at the end of every day and read through interviews and articles and started layering the facts and quotes into a single, chronological document. In retrospect, I can see that the project was a sort of meditation for me. I was living in a tiny New York apartment on the 49th floor of a building in Tribeca. The entire view was dominated by the huge towers of the World Trade Center. My life wasn’t going so well in a variety of ways. My relationship was not great, I didn’t really have a career, and I had a crippling drug addiction. Then one day the World Trade Center came down outside my window. My building was completely enveloped in a cloud of toxic dust. It was perpetual night, pierced only by flashing lights and wailing sirens. All the power went out and to get to or from my apartment I had to walk 49 flights of stairs. Outside, fathers and children and wives were wallpapering the entire city with flyers, hoping for any sight of their sons, mothers, or husbands, all of whom, we soon learned, were already dead. People were openly crying on the street, everywhere. Even my dealer, who I met one night on 2nd Avenue just next to Stuyvesant Park, was in tears. It was an indescribable, desperately sad time for the city, and for me. I think the book project occupied my mind with something other than despair.

What was the initial moment you’ve encountered the Sisters like, and were you captivated right away?

Yes, I loved them from the moment I heard them in 1984 and I became a huge fan right away. I found them at the right time in my life. I like to say I was an early fan, but that’s by US standards. There are a lot of people, especially in the UK, who were into the band from the very beginning, and I do envy them a bit. Luckily for me, a lot of those guys are on Facebook and are generous with their reminiscences. Also, Nikolas Lagartija’s blog “I Was A Teenage Sisters Of Mercy Fan” has done a great job of collecting memories.

Before breaking through, the Sisters were pretty much an underground band mostly known in the UK. In your opinion, what were the first steps that led to the band being at least a little better known in the US?

Hard work and talent. A few people who’ve read my book have told me that I painted Eldritch in an unflattering light at times, that he came off as overly ambitious and autocratic. Maybe it’s my personality, but I never intended any of that as criticism. I admire those qualities in Eldritch unreservedly. I mean, my other great hero is Bismarck. Very little of value is created by committee; it’s almost always the vision and drive of a single man that creates great art. So I tried to present Eldritch as I understand him: serious about his work, unwilling to compromise it, and dedicated to getting it out in the world. I think The Sisters’ success in the US is attributable to these virtues, same as their success in every other market. At least in the period covered by the book, Eldritch made the right decisions with regard to labels, tours, and press. All of this hard work resulted in increased visibility and sales in the US. Of course, the songs had to be great too.

In the 80s, your TSOM fandom led to you releasing two volumes of a fanzine called „Romance And Assassination“. Do you think that these first baby-steps in publishing were the foundation for you becoming a full-fledged book author decades later in your life?

I guess so. It was satisfying to do those ‘zines. They were an expression of my passion, and – as anyone who publishes a ‘zine can tell you – it felt good to create something and put it out in the world. Even 35 years later I am proud of them, primitive as they are.

How would you describe the longevity of the Sisters up until today?

I think the music has the same appeal as all great art: it moves you. Beethoven has endured even longer.

Taking into consideration that their last full-length album was released 31 years and their last official single 29 years ago, what makes Andrew Eldritch and his hired guns so special that he could still, in pre-pandemic times, tour the world at least bi-annually playing in mid-sized and even big concerts hall internationally?

They don’t stand still. As much as I’d love to see them perform the album First And Last And Always from start to finish, they don’t do that kind of thing. They are an active band, writing new material, and reimagining the old material. Sometimes they’ll fuck up something that was perfect – the replacement riff for ‘First And Last And Always’ anyone? –, but at least they’re moving. Eldritch won’t put on the hat again because you can only really get away with that once and then it’s all over.

I read you mentioning in another interview that you also have quite a soft spot for the live incarnation of the band from 1992 to 1998. So do I. What is it about those line-up(s) in this particular period that made you enjoy the Sisters performance?

After the “Vision Thing” tour Eldritch clearly reevaluated his band and its sound. The two-dimensional Rock’n’Roll band that toured in 1990-1991 was, in my opinion, a bit of an aberration for The Sisters, who were always more complex than that. Before 1990 The Sisters blended elements of rock with punk, new wave with no wave, Suicide with ABBA. After 1992 Eldritch returned to those more eclectic instincts. If you watch a video of, for example, the 1997 gig in Philadelphia, you can clearly see it’s a different beast compared to the band that did the video for ‘More’. It’s sleeker, with a more sophisticated, industrial sound that embraces rather than fights the drum machine. Even the band’s presentation had changed. The entire Vision Thing tour looked as if it had been conceived by the in-house production designer at Harley-Davidson. By 1992 all that was gone. The few new songs from the era – “Summer”, “(We Are The Same) Suzanne”, “Romeo Down” – are terrific. Adam Pearson was an outstanding guitarist. Eldritch was in fine form and the entire machine hummed. “Comfortably Numb/Some Kind Of Stranger” with backup singers? It’s hard to beat.

Have you already started working on Volume 2 of „Waiting For Another War“? And if yes, is your plan to cover the period from after the FALAA line-up split up until „Vision Thing“?

Yep. I’m not sure yet what the scope will be though. It depends on how long the manuscript is. However it ends up, it’ll take some time.

In closing: Do you have a favorite Sisters story, trivia tidbit, or anecdote that you’ve never shared before?

Everything I know about The Sisters went into the book, unless it was too personal to print. But there are some more great anecdotes for Volume II.

My traditional closing question: Your hopes, plans, and dreams for the future?

My hopes these days are mostly for my sons: long, fulfilling, happy lives on an unpolluted, clean earth where all modern architecture has been razed.

I wholeheartedly second that. Thank you very much for taking the time to do this interview, Trevor. Best of luck with all your future endeavors. Stay safe and healthy, please.

Thank you, Thomas.

Follow Waiting for Another War:

• Website
• Facebook
• Instagram

The post A History of The Sisters of Mercy in “Waiting for Another War”: An Interview with Author Trevor Ristow appeared first on Post-Punk.com.

The band’s unique sound, an apocalyptic fusion of Victorian underworld-meets-Spaghetti Western, had an appearance to match (wide-brimmed hats, long duster coats, and cowboy boots, usually black and smothered in white flour as a substitute for dust), which set them apart from their contemporaries.

Carl McCoy ruminates on the evolution of the band:

“When everything else failed me, the Nephilim inspired me and gave me light in the darkness. As a musical vessel, we have never sold our soul or changed our tune to achieve major recognition. We always stood apart from everything else that was going on around us. The goth scene embraced us, but then so did many other scenes and subcultures. In the early days, the audiences didn’t know how to take us but that is why we did what we wanted to do and certainly were not interested in doing what other bands were doing.”

Beggars Arkive are happy to announce a 30th-anniversary vinyl reissue of Elizium, released by Beggars Banquet in 1990. Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road. The album is pressed on dark green 180g vinyl.

PRE-ORDER: https://fotn.ffm.to/elizium30

TRACK LISTING:

• A1. (Dead But Dreaming)
• A2. For Her Light
• A3. At The Gates Of Silent Memory
• A4. (Paradise Regained)
• A5. Submission

• B1. Sumerland (What Dreams May Come)
• B2. Wail Of Sumer
• B3. And There Will Your Heart Be Also

The post Fields Of The Nephilim Celebrate 30th Anniversary of “Elizium” With New Vinyl Reissue appeared first on Post-Punk.com.

The album’s iconic cover was based on a photograph by Don McCullin of young rioters trying to escape from clouds of CS gas released by the British Army in Derry, Northern Ireland, on July 8th, 1971 during the ethnonational conflict in Northern Ireland, commonly known as The Troubles.

The album yielded three singles: “Wardance”, “Change” and “Requiem”.

The version of Wardance on the album is a re-recorded version that was originally released via Malicious Damage as 7-inch with the B-Side “Pssyche”.

Watch an early performance of “Wardance” below:

Tracklist:

1. “Requiem”
2. “Wardance”
3. “Tomorrow’s World”
4. “Bloodsport”

Side B

5. “The Wait”
6. “Complications”
7. “S,O,36”
8. “Primitive”

The post Killing Joke’s 1980 Self-Titled Debut Album appeared first on Post-Punk.com.

“A Forest” was not initially the title of the song, however, with the original title being recycled for the chilling album track “At Night”.

Listen to an early performance of the song in its original form below, from the time of its introduction during the Future Pastimes tour.

“A Forest”, the last song recorded and only single released for Seventeen Seconds, was The Cure’s first masterpiece, light years beyond the songwriting showcased in the previous releases, “Killing An Arab”, “Boys Don’t Cry, and “Jumping Someone Else’s Train”.

“We wanted it to be quite ornate,” says Mike Hedges on the production of the single,

“it ended up being the most produced track on the album. To me, it always sounded like a single. We all thought it was an amazing song — I loved the guitar line — but we also figured it would take a bit more work than the others.”

Perhaps the darker direction that would later come to be known as “the archetypal Cure sound”, was influenced by the band performing with Joy Division back on March 4th, 1979—or perhaps it was Cure singer/songwriter Robert Smith’s stint as guitarist in Siouxsie & the Banshees after the departure of the “Blackheads”.

One thing is certain—the introduction of Simon Gallup on Bass was a game-changer—with Gallup replaced founding bassist Michael Dempsey, who left the band to join The Associates. Gallup would later say that his distinctive bass playing on the track was strongly inspired by The Stranglers, whose bassist Jean-Jacques Burnel was a major influence on him.

The recruitment of Matthieu Hartley on keyboards for the record was also the introduction of an integral part of the atmospheric nature of The Cure’s sound that remains to this day. Hartley, had joined the band with Gallup after both were involved with the bands Lockjaw and the Magspies.

Ultimately, with “A Forest” The Cure paved the way for a new generation of bands creating cold-wave, post-punk, and goth—and laid the foundation in releasing three of their greatest records: “Seventeen Seconds”, “Faith”, and “Pornography”.

Watch the video for “A Forest” below:

The post The Cure’s “A Forest” appeared first on Post-Punk.com.

A good example of the outspoken demeanor Simon Gallup brought to the band is highlighted during the July 5th, 1981 Werchter Festival, in Belgium.

The concert had been running late and the organizers were trying to rush The Cure off the stage to make way Robert Palmer—who was on next. However, as famously demonstrated in recent years at the BottleRock Festival, some things never change, and Robert Smith was not having it.  He instead opted to do a nearly 9-minute long version of “A Forest” with Simon Gallup shouting “**** Robert Palmer! **** Rock & Roll” as the band left the stage.

Below is the official promotional video for “A Forest” (read our write up on the song).

In addition to “A Forest”, there is also a music video for the track “Play For Today” which seems to have got its title from the BBC Anthology series (quite literally A Play for Today).

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The post The Cure | Seventeen Seconds appeared first on Post-Punk.com.

Robert Smith said he wanted a funereal theme for the record, and it definitely shows throughout, with the cover art being an image of Bolton Priory surrounded by fog; a perfect visual representation of the album’s mood.

(Interesting fact, Bolton Priory was the setting of the music video for Love and Rockets’ debut single “If There’s a Heaven Above”.)

The album’s only official single “Primary”, originally performed live on the Seventeen Seconds tour, was listed on fan-recorded bootlegs as having the title “Cold Colours”, which was the original working title of the song’s demo. This is also known as the “Primary (Yellow Version)”. The song’s original lyrics, as featured on John Peel’s 1981 Radio session, focus more so on the individual primary colours than in the final version, which still retains the refrain “Oh oh remember, Please don’t change”.

Red in the Christmas tree shines
And you lick your sticky lips
Never mind
I’ll stare
In love

Yellow such a happy colour
But I feel so old
Girl sits in a room drawing pictures
Oh yellow yellow yellow yellow yellow yellow yellow
That’s so cold

Blue is waiting for your brother
You won’t get seen again
Sky high waves you
And other colours
Primary sound and primary fine

Listen to “Cold Colours” below:

The “Cold Colours” version is also similar to the Faith deluxe edition bonus Morgan studio out-take recorded in September of 1980—having relatively the same early lyrics, but with the faster tempo featured in the final version of the song.

We have heard that early versions of “Primary” were dedicated to Ian Curtis, which would make Primary the second song on the album to have been performed in the late Joy Division singer’s honor. The other being “The Holy Hour”, which was dedicated to Ian Curtis during a concert in Amsterdam on October 17th, 1980. This makes you wonder if the funeral theme for the record was the result of the Joy Division singer’s suicide.

Robert Smith was a fan of Curtis, and Joy Division, and had this to say about it in a recent interview:

“In 1980 we did a thing in London at the Marquee Club…we picked the four bands we wanted to play with us, and Joy Division were one of those bands…I heard Unknown Pleasures on the radio on John Peel, and they were just fantastic.

They were the best thing I’d seen–not ever, because I’d seen Bowie and the Stones–but they were of that generation of bands which is my generation of bands they were so powerful…that was our best show that year, I think, we went on after them and we had to really we had to try hard to match what they did…it’s a shame about Ian Curtis…it’s like Jimi Hendrix or Kurt Cobain…people that good come around far too infrequently.”

At least two songs on the album, “All Cats Are Grey” and “The Drowning Man”, were inspired by the gothic and steampunk fantasy novels in the Gormenghast trilogy, written by Mervyn Peake. There is a fantastic BBC adaptation of Gormenghast starring Jonathan Rhys Meyers, which includes Christopher Lee, Stephen Fry, Richard Griffiths, and more!

It definitely feels like in style and tone a precursor to the Harry Potter Films that were to follow just a year later. “All Cats Are Grey”, arguably the album’s best track, is also one of two songs included on the soundtrack of the Sophia Coppola film Marie Antoinette, starring Kirsten Dunst.

Besides’ “Primary”, there is also a music video for the track “Other Voices”, a song that contains one of The Cure’s most memorable basslines.

The album on some copies—like one of the cassette editions, contains the instrumental piece “Carnage Visors” (an antonym for rose-coloured spectacles).

The piece is the soundtrack to a short film by Ric Gallup, bassist Simon Gallup’s brother, that was screened at the beginning of shows in place of a support band on 1981’s Picture Tour. The film featured an animation of several dolls in different positions and stances.

The Cure’s Faith was performed in its entirety, along with Seventeen Seconds and Three Imaginary Boys as a part of a special set of shows entitled Reflections back in 2011, reuniting the band’s founding member Lol Tolhurst to perform at the concerts in London, Los Angeles, and Sydney Australia.

Tolhurst had not played with band he named in 22 years, and the concerts feature as a touching part of his memoir Cured: The Tale of Two Imaginary Boys.

The post The Cure | Faith appeared first on Post-Punk.com.