Sunday, July 22, 2018

Reeves helps rework Bowie's 'Never Let Me Down' album


From Georgie Rogers:

BBC 6 MUSIC INTERVIEWS: DAVID BOWIE LOVING THE ALIEN BOXSET WITH REEVES GABRELS AND MARIO MCNULTY

The 12th October will see the release of the latest in the series of career spanning David Bowie box sets. So far the first three have covered from 1969 through to 1982.

The next is called 'LOVING THE ALIEN' and reflects 1983 - 1988.

The eleven CD, fifteen-piece vinyl set which includes newly remastered versions of Bowie's most successful period - starting off with 'LET'S DANCE' which propelled him into a commercially mainstream stadium-filling stratosphere, then it's follow up 'TONIGHT', 'NEVER LET ME DOWN, the live album 'GLASS SPIDER (Live Montreal '87)' and the previously unreleased 'SERIOUS MOONLIGHT' live album.

Now the accepted wisdom is that while 'LET'S DANCE' was all killer, and 'TONIGHT' has its moments (Loving The Alien) but 'NEVER LET ME DOWN' wasn't Bowie's finest moment, and admittedly the 80's production hasn't aged that well.

So this set includes a complete re-versioning of the album.

Early this year engineer Mario McNulty - who had remixed the album's track Time Will Crawl back in 2008 with Bowie - he got in the studio with drummer Sterling Campbell, bassist Tim Lefebvre (who played on Blackstar) and guitarists Reeves Gabrels and David Torn to record a new version of the album with Bowie's original vocals.

Reeves Gabrels was David's guitarist from 1988 through to 1999. He was also in Bowie's heavy alt rock group Tin Machine and plays in The Cure. I spoke to him for BBC 6 Music about the project...


Listen to the BBC 6 Music interview here (Bowie segment starts at 44:25, Reeves interview at 46:24). They also talked to Reeves about The Cure, and say they'll air that part in a couple of weeks.

And here's more info on the project from Rolling Stone:

Also exclusive to the box set is a 2018 reworking of Never Let Me Down with new production and instrumentation overseen by Bowie producer/engineer Mario McNulty. Longtime Bowie collaborators including guitarist Reeves Gabriel and drummer Sterling Campbell, Blackstar bassist Tim Lefebvre and composer Nico Muhly also contributed to the project, which was born out of Bowie’s desire to rerecord the 1987 LP that he called “a bitter disappointment.“

“The seeds of this new reimagining of the albums were first sown in 2008 when Bowie asked McNulty to remix the track ‘Time Will Crawl’ and record new drums by longtime Bowie drummer Sterling Campbell along with strings,’ Parlaphone wrote of Never Let Me Down (2018). “The track was issued on the iSelect compilation to much acclaim and, in the notes for that record, David remarked ‘Oh, to redo the rest of that album.'”

In early January, the musicians involved entered New York’s Electric Lady Studios to fulfill Bowie’s wish and remake Never Let Me Down, which now features a guest appearance by Laurie Anderson on “Shining Star (Makin’ My Love).” The 2018 reworking also boasts “newly ‘remixed’ artwork reflecting the album’s subject matter and features unseen images from the original cover photographic session from the archive of Greg Gorman.


Cure article in new Rock & Folk

Killing an Arab: The Cure try to reclaim their most controversial single


From the New Statesman:

Killing an Arab: The Cure try to reclaim their most controversial single

Can a song about murdering an Algerian ever be benign?

By Calum Bradshaw

“It should be a great gig – but they won’t play “Killing an Arab”” – this was the last text message my dad, at home, sent to me before my phone battery died in the sweltering heat of The Cure’s 40th anniversary celebration concert at London’s Hyde Park earlier this month.

My dad grew up on The Cure. He had the hair, the platforms, and the drainpipe jeans. He’s stuck with them through every sea change and slump. Against the grain of critical consensus, he reckons that “they’re at their best pre-“The Caterpillar”” – he’s a man who likes OG Cure, from “Boys Don’t Cry”, to “A Forest”, and the band’s first ever single, 1978’s “Killing an Arab”. If not for the inconvenient timing of his wedding anniversary, I’m sure Dad would have dusted off the Doc Martens and hopped on the train to the gig with me.

“Killing an Arab” is a short, spiky track with a colourful history. Written by frontman Robert Smith while he was still at school, it was released in 1978 with the B-side “10:15 Saturday Night”. Its main chorus line runs: “I’m alive / I’m dead / I’m the stranger / killing an Arab.” Its been called either racist or misunderstood in equal measure, and in Hyde Park – despite my dad’s convictions – The Cure played it.

The song draws its inspiration from the central action of Albert Camus’s novel L’Étranger (The Stranger), which follows a protagonist who murders an Algerian man on a beach after a love dispute involving the victim’s sister. This Arab, as he is continually referred to in the novel, is never named, and the protagonist, detached and unrepentant, is executed for his crime. The novel is an exploration of the nihilism and narcissism of its protagonist, and is held up as a crucial component of the 20th century canon. Sadly, few of the skinheads who turned out to early The Cure gigs had swotted up on their existentialist literature, and somewhat missed this memo.

Instead, racist interpretations saw Smith fighting a rearguard action over a song that, as he said in a 2001 interview with now defunct Canadian music magazine Chart Attack, he “had no idea that anyone would ever listen to... other than my immediate school friends”. When The Cure played at Kingston Polytechnic in 1979, they were asked not to include “Killing an Arab” in their set, over concerns of a racist message. It was widely dropped from radio playlists, and the American-Arab Anti-Discrimination Committee asked for the song to be withdrawn from sale – it later reached a joint agreement with the band and copies of the singles collection Standing on a Beach were marketed with a sleeve sticker denouncing anti-Arab interpretations. The sticker read:

“The song ‘Killing an Arab’ has absolutely no racist overtones whatsoever. It is a song which decries the existence of all prejudice and consequent violence. The Cure condemn its use in furthering anti-Arab feeling.”

Roger at the British Grand Prix

Cure discussion on We Dig Music podcast


Saturday, July 7, 2018

The Cure at Hyde Park (July 7th, 2018)


The Cure's 40th Anniversary Party
July 7th, 2018
BST at Hyde Park
London, England

Setlist: Plainsong, Pictures of You, High, A Night Like This, The Walk, End of the World, Lovesong, Push, In Between Days, Just Like Heaven, If Only Tonight We Could Sleep, Play For Today, A Forest, Shake Dog Shake, Burn, Fascination Street, Never Enough, From the Edge of the Deep Green Sea, Disintegration

1st encore: Lullaby, The Caterpillar, Friday I'm in Love, Close to Me, Why Can't I Be You?, Boys Don't Cry, Jumping Someone Else's Train, Grinding Halt, 10:15 Saturday Night, Killing An Arab.

"Thank you very much. See you again very soon. Thank you."

Articles & Reviews: Independent / Drowned in Sound / NME / Metro / Clash Music / Rolling Stone / Louder / Disarm / Big Issue / MusicOHM / Musik Express / Radio X / Yahoo / Muzikalia / Outside / Independent.IE / Spin / Le Temps / Mic / Statuesque Music Reviews / Slicing Up Eyeballs / Post Punk / NWI Times / Sopitas

Photos: Consequence of Sound / Sing Birds Sing: Twilight Sad - The Cure - Kathryn Joseph / Sound of Violence: Twilight Sad - The Cure / Marsworld: The Cure - Slowdive - Editors - Interpol / Paige K. Parsons: The Cure - The Twilight Sad / Aaron Law /

Scopes: Snuffybear (audio only)

Videos: Plainsong / A Night Like This 1 - 2 / Push / Just Like Heaven / Play For Today 1 - 2 / Shake Dog Shake / Burn / From the Edge of the Deep Green Sea / Disintegration 1 - 2 / Friday I'm in Love / Close to Me / Boys Don't Cry / Boys Don't Cry & Jumping Someone Else's Train & Grinding Halt / Jumping Someone Else's Train & Grinding Halt & 10:15 Saturday Night & Killing An Arab  / 10:15 Saturday Night & Killing An Arab / Boys Don't Cry & Jumping Someone Else's Train & Grinding Halt & 10:15 Saturday Night & Killing An Arab


Thank you so much to Snuffybear and everyone who shared photos and videos and reports and everything else! Thank you for letting fans who couldn't be there, celebrate the band that they love! Happy 40th anniversary, The Cure! We love you!









BST Hyde Park merch




Monday, July 2, 2018

Tim will be filming the Hyde Park show

Hyde Park t-shirt, lanyard, and mug


Cure Hyde Park T-shirt (£25) and Lanyard (£8) are up for ordering.

"Enter unique code from your email if you paid for shirt with Hyde Park ticket." Thanks @GMFree1.


Update (July 2nd, 2018): And now there's a mug, too

All Cure edition of Dark Wave this Sunday

Photos from the Crawley Museum Cure Exhibit




A post shared by @_all_decay on







Saturday, June 30, 2018

Updates from the Crawley Museum Cure Exhibit






The Cure exhibition will run from July 1-22. Opening times are Wednesday to Saturday 10.30am to 4pm, Sunday 2-4.30pm.

Hyde Park schedule


Primary Entry: 12:30
Doors open for general admission: 13:30
Last entry: 21:00
Curfew: 22.30

Great Oak Stage
The Cure 20:10 - 22:20
Interpol 18:35 - 19:35
Goldfrapp 17:15 - 17:55
Editors 16:00 - 16:45
Slowdive 14:50 - 15:30
Pale Waves 13:40

Barclaycard Stage
Ride 19:25 - 20:10
Lisa Hannigan 17:55
Twilight Sad 16:35 - 17:15
This Will Destroy You 15:20


Summer Stage
Kathryn Joseph 17:55
Kaelan Mikla 16:35 - 17:15
PG Lost 15:20


Update (June 30th, 2018): Some updates to the schedules...Allthingsmata and Gallops have been removed. End time for The Twilight Sad added. Kaelyn Mikla and Kathryn Joseph have switched spots, so no more conflict between the Sad's set and Kathryn's set.

All times taken from the official BST Hyde Park app.

Thursday, June 28, 2018

Hyde Park tickets for sale or trade


Had a bunch of requests for this lately, so here you go. If you have tickets for sale or trade, post them in the comments.

As always, only list tickets at face value or below (plus the ticket fees & shipping).

Hyde Park Aftershow Party

Facebook Event Page

Hyde Park pre-show party

Sunday, June 24, 2018

CURÆTION-25 at Meltdown Festival


Meltdown Festival
June 24th, 2018
Royal Festival Hall at Southbank Centre
London, England

Twilight Sad set: It Never Was The Same, VTR (new), The Arbor (new), There's A Girl in the Corner, And She Would Darken the Memory, Keep Yourself Warm (Frightened Rabbit cover).

CURÆTION-25 set

Set 1 (From There to Here): Three Imaginary Boys, At Night, Other Voices, A Strange Day, Bananafishbones, A Night Like This, Like Cockatoos, Pictures of You, High, Jupiter Crash, 39, Us or Them, It's Over, It Can Never Be The Same.

Set 2 (From Here to There): Step Into The Light, The Hungry Ghost, alt.end, Last Day of Summer, Want, From the Edge of the Deep Green Sea, Disintegration, If Only Tonight We Could Sleep, Sinking, Shake Dog Shake, One Hundred Years, Primary, A Forest, Boys Don't Cry.

Note: Faith was listed on the official setlist, but was not played. Primary took its spot in the set.


Reviews & Articles: The Guardian / The Times / The Telegraph / The Arts Desk / NME / Slicing Up Eyeballs / CoS / Alternative Press

Periscope: A bit of soundcheck / The Twilight Sad audio / Cure Audio (all thanks to Snuffybear!)

Videos: 21 minutes, mix of songs / Three Imaginary Boys / Three Imaginary Boys & At Night / A Strange Day 1 - 2 - 3 / Bananafishbones / Like Cockatoos 1 - 2 / Jupiter Crash / Us or Them / It's Over / It Can Never Be The Same / Last Day of Summer / If Only Tonight We Could Sleep 1 - 2 / Sinking 1 - 2 - 3 / Shake Dog Shake / One Hundred Years /


"Curator Robert Smith closes the 25th Meltdown festival with an exclusive show at Royal Festival Hall, with support from The Twilight Sad.

He is joined onstage by four of his curious friends – and other, imaginary accompanists – to perform special interpretations based on a very particular selection of songs he has sung throughout the years."

A post shared by Chris White (@chriswhite65) on




CURÆTION-25 shirts