It's really hard for me to comment objectively unless i ignore the music completely. The recording process sounded fascinating, but it also lends itself to the fact the album turn out to be so different, even from track to track. The fact they used multiple sound engineers & producers prolly had a huge bearing on that, but, given the title, that all seems deliberate to me. When I saw them do Want at Glasto in 95, I was so hopeful about the new material. However, when they then wheeled out Jupiter Crash & Mint Car I did have a heart-sink moment prolly on the same level as earlier fans who saw them evolve from Pronography to Let's Go To Bed. However, back on topic, reading the technical aspects behind it is incredibly interesting & explains quite a lot of things.
I love WMS. It remains in my top 5 Cure records. The only issue I have with it is it drags on a bit tooooo long towards the end.
Robert must continue to love it as well because he includes at least three to four songs from it in current setlists, while he seems to have completely forgotten about 'Bloodflowers'…
AND, I must add, I recently saw them at Riot Fest in Chicago…. and the crowd danced and sang to all the WMS song, they didn't run to the bathroom crying, that's for sure...
I love WMS. It remains in my top 5 Cure records. The only issue I have with it is it drags on a bit tooooo long towards the end.
Robert must continue to love it as well because he includes at least three to four songs from it in current setlists, while he seems to have completely forgotten about 'Bloodflowers'…
AND, I must add, I recently saw them at Riot Fest in Chicago…. and the crowd danced and sang to all the WMS song, they didn't run to the bathroom crying, that's for sure...
They are all secret WMS listeners. Don't let them fool you!!!