The Cure's "The Head on the Door" - 35 Years of a Happy Goth Masterpiece

The Cure's The Head on the Door album cover, released August 26th, 1985.

When you think about The Cure, one of two impressions come to mind. You either think of an incredibly dismal, depressing, but quintessential goth band, or an upbeat, happy, dancable, new wave band. Guess what- they're both! And that is what is so miraculous about the Cure. They are some of the founders of the goth rock genre, but also were played in non-goth, or more mainstream dance clubs back in the day. They can go from the "it doesn't matter if we all die" narrative of songs like "One Hundred Years", to the "let's get happy!" one of "Doing the Unstuck" so fast it'll make your head spin. 

Though their most revered record by fans ("goth" or not) throughout the years has certainly remained Disintegration (1989), my personal favorite since age 16 has always been The Head on the Door. While Disintegration is one of the greatest goth records of all-time for sure, the Head on the Door for me, is one of the greatest combination goth / new wave records of all-time. It is like a happy medium, or half-way point, between some of their most depressing albums (i.e. Pornography) and some of their most uplifting (i.e. Wish). It is incredibly inventive, and strange, but also at times dancable, and at others tear-jerking. It is everything music should be, to me. And I'm going to let you know exactly why.

Out the gate, the album bursts open with one of the Cure's 80's hits, "In Between Days". It is a soaring, uplifting, limitless pop-rock song that can make me happy no matter how awful a day I've had. And sincerely, it never gets old, no matter how many times I've heard it. It sets the tone so that listeners know, this is going to be a "happier" Cure album (though later tracks will stifle this message). Despite its popularity, it is still one of the highlights of the album, and I'm sure many of you will agree with me. Give yourself a refresher (or a first-time listen) and check it out the trippy, wonderful music video below~ (Alternate link to the audio, in case the video "isn't available in your country": https://www.youtube.com/watch?v=EDMDb8unsIA)

Then it fades into the strange, stream-of-consciousness "Kyoto Song", which tells of the parallels between a nightmare and reality (or I at least I think it does). It is confusing, but that just adds to the relatable feeling of what it's like trying to dissect your own dreams, and draw meaning from them. The lyrics are more dark, but the sound is still on the happier end, so it is like a "best of both worlds" for goth and new wave lovers like myself. Following that is the acoustic guitar and castanets, pseudo-Spanish-style track "the Blood" which seems to be a continuation of this dream / hallucination state. There are references to walking barefoot in a desert, and to "the blood of Christ", but it definitely does not seem Christian in nature. It seems to be more along the lines of walking alone in the desert, and hallucinating the you see a savior, but it really isn't there at all. It is an interesting track musically too, for its oddly Spanish style mixed in with new wave. It somehow works, however! And makes for one really unique Cure track. 

Moving into "Six Different Ways", which seems sort of like an interlude or "filler" track to me, but that doesn't mean it isn't good. The lyrics are overly simplistic, and so is the melody, but it is still catchy. And it paves the way for what I think is the best song on the album, and overall one of the best Cure songs, period. "Push" is the ultimate "crank the stereo full-blast, roll your windows down, and drive alone through the night" song... although there are many I cite as those, I know. It makes me feel alive, in a different way than "In Between Days" does. It isn't the lyrics really, it's the sound. It swells and rises for over 2 minutes before Robert Smith begins singing, hyping the listener up, and getting them excited. Personally, it gives me goosebumps every time. I can't put into words properly how magical it feels when this song comes on, so you'll have to listen to it for yourself to really understand what I mean. Please do so, below, and I have a feeling you'll begin to know what I mean. 

Side two begins with "The Baby Screams", which is strange and eyebrow-raising, but toe-tapping. It seems to be a simile comparing enjoying sensations of bliss or pleasure, as naturally as it is for a baby to scream ("and I love it, like a baby screams"). Or, you could take it sarcastically- the baby screaming being a bad thing, and thinking similarly to "I'm enjoying this like a baby screams", or "I want this like I want a hole in my head". Surely I can't figure it out, and Robert Smith stumps me once again! Up next we have a song that was another pretty big hit (bigger than "In Between Days", even) for the Cure off this album, "Close to Me". The best song for exemplifying claustrophobia in an artistic way, with Robert's heavy, anxious breathing in the background of the entire song. Also featuring an album title name drop, "Close to Me" is a simplistic yet dancable song that can make the listener feel claustrophobic, without even having that fear. That is what makes it so compelling, and so fun. Listen, watch, and feel closed in on for yourself, below.  (Alternate link to the audio, in case the video "isn't available in your country": https://www.youtube.com/watch?v=t7U1k147Qk4)

Rounding out the end of the Head on the Door, is "A Night Like This". Which probably would have been a bigger hit for the band, had it not been overshadowed by "In Between Days" or "Close to Me". It is another favorite for me from the album, as it has that magical quality, in the same way that "Push" does. There are feelings of longing and of recovering a lost love, in the lyrics. It is hopeful though,  and the upbeat sound of the music makes me think Robert will get his wish. It is also one of the few Cure songs to feature a saxophone solo, which while some might find cheesy- I absolutely love. I don't think it would have the same power and energy without it. I know I've added a lot of videos / songs to this post, but I also implore you to listen to "A Night Like This", when you have the time (and of course the whole album) so I'll still add it below for you.

Then we have the short, but sweet "Screw" which is grindingly bass-driven and dancey, and transitions abruptly into the last song, "Sinking". Another bass-led track, but more like "Screw"'s more depressed cousin. It is slowed down, with an accompanying piano, bringing the listener down from the high they have likely been on, while experiencing this album. Not quite as dismal as the ending of Pornography (the title track), but echoing a similar sentiment with, "I'll never feel again. If only I could remember anything at all". While Pornography seems more apathetic towards the inevitability of time and death, "Sinking" is more passionately sad about it. And after all of this more upbeat-yet-strange Cure, this is what Robert decides to leave us with, reminding us they are still a goth band, after all. 

So there you have the Head on the Door! It is a strange, magical Cure album that bridges the gap between some of their most gothic works, and some of their most new wave. It is a perfect marriage to me, of the elements that make the Cure unique, and unlike any other band out there to date. It's been 35 years since the Head on the Door was released, and it still has the same awe-inspiring effect that it had on me and many others, when they first heard it. 

What do you think of my depiction of the Head on the Door? Do you agree? And what is your favorite Cure record? Feel free to let me know in the comments! I am curious about your favorite Cure moments. Thank you as always for reading, and have a magical weekend! 

The Cure in 1985, photographed by Ebet Roberts.

30 Years of Facelift - Alice In Chains' Best Album

 

Okay, I know I'm posting about them twice in a row, but it's only because I found out this week that TODAY marks 30 years of Alice In Chains debut album, Facelift. And it is by far my favorite AIC album- so I have to talk about it. 

Facelift was my introduction to Alice In Chains' music. And it was a doozy. At the time of discovering them, I was already into other 90's grunge staples such as Nirvana or Pearl Jam, having been raised with the latter. But I had never really listened to anything, well... heavy, yet. Metal was something I got into a little later, save a few nu metal childhood favorites. The album cover disturbed me, but that made it all the more enticing. Like watching a horror movie out of wanting to be scared, I pressed play on track one- "We Die Young". It came roaring through my computer speakers, and forced its way into my eardrums. It was heavy, loud, fast- and badass. A song about young people getting hooked on hard drugs, and meeting their untimely end because of it (a theme that would come up a lot in AIC's music). I was pleasantly surprised, and by track three, "Sea Of Sorrow", I had fallen in love, and for a while- had a new favorite band.

The story of Facelift for the band is also a bit of a doozy. Facelift came out before grunge was a mainstream genre at all. Sure, you had underground Seattle groups like Green River, or Mother Love Bone, who started it. But it wasn't until the rise of Nirvana that the scene really blew up. So without a "grunge" label stuck on them, Alice In Chains got put on tour with the likes of Slayer and Anthrax, in their early days. And it didn't go over well. They often got booed off the stage for not being "heavy enough". Though apparently singer Layne Staley would jump into the crowd and beat the hell out of anyone talking shit- which definitely still gave them some metal-scene cred. And then once the grunge scene got big, and nationwide, Alice In Chains faced a new challenge: After having been lumped in with metal groups, they were now too heavy for grunge, but too light for metal... Left at a sort of in-between genres state, Facelift often gets overlooked by today's fans and critics alike, with Dirt (1992) getting most of the praise, having been released at the height of grunge. But I'm here to tell you why Facelift is just as (if not more) deserving of praise.

Obviously, it contains one of their biggest, most recognizable songs- "Man In The Box". A crunching, grinding guitar, and terrifying, ominous lyrics, chanted and screamed by Staley, make for not only one of the band's greatest songs, but one of the greatest songs of the entire era. The meaning behind the words have been discussed by the band multiple times over the years, and has varied, but its overall meaning has been censorship. Staley also said that the farm animal imagery in the words, and in the music video, sprung from a conversation he had with some vegetarians from their record label, who told him about baby cows being raised and slaughtered in "boxes" (or unreasonably small enclosures) and he was moved by it. But he's also said he was "really stoned" when he wrote it, so that also explains the chanting and ominousness, to a degree. In any case, it's a hell of a song, and you can be reminded of its power by listening / watching below~

Then there's the slowed down, dark and gloomy, "Love, Hate, Love", which graphically describes a broken, abusive relationship, where both people's demons and flaws are laid out on the table. The band thinks (and I agree) that it is one of Layne's strongest vocal performances ever. He has been idolized by many for the emotion and rawness to his voice, in all AIC songs, but this one just might top them all. For me, the words haven't lost their stinging edge, even after all this time. It takes me there, makes me feel that emotional turmoil and pain from continually being hurt in a relationship, but still loving that person, and being unable to stop. It is because of Layne's ability to convey his emotions so well, that makes this song unbearably relatable, but also so beautiful. Listen to it for yourself, below. 

This next one comes with a little "fun fact". In 1992, Alice In Chains had two of their songs, and a live performance, featured in my favorite movie of all-time, Singles, directed by Cameron Crowe. The concert filmed to be used in the movie, was of an actual Seattle club show the band was playing in '91, authentic and unscripted. While only segments of the songs are actually shown in the movie, in 2015 the full performance of both songs was released on Blu-ray, for this updated release of Singles. The songs played were "Would?", which would appear on the soundtrack, and their not yet released album Dirt later in '92, and "It Ain't Like That", off of Facelift. "It Ain't Like That" is an energetic headbanger, that drags the listener back from the depressive depths of "Love, Hate, Love" before it on the album, and makes them ready to mosh again. I think it is necessary in this discussion of Facelift to include a video of live footage of the band from that time, because their stage presence is another crucial part of what made them gain traction in the upcoming Seattle grunge scene. I'll link it here, since I can't embed the clip normally for some reason... so please click here to watch the full performance of "It Ain't Like That" live, for yourself. It really is something to behold- swinging dreads, moshing crowd, and Layne doing high jumps...just to name a few.

It's been 30 years since Facelift was released, and the Seattle grunge scene, and eventually the rest of the world, has never been the same since. It took some time after the album's release for the band to get the acclaim they deserved, but Facelift certainly paved the way for it. I personally find it superior to Dirt, and the rest of their discography (which is hard to say, because I love all of their albums), because of how heavy, but fun it still is. Dirt is overall darker, and more depressing lyrically, and while it is good for that, I think the energy behind Facelift is what makes it more powerful. It is the naivety and rawness of Facelift too, that speaks to me. The band had no way of knowing just how big "this thing" was going to get, and they made this record to tell the world who they were, without the word "grunge" even stuck to their backs yet. 

Thanks as always for reading, and for celebrating 30 years of one of my favorite albums in the world with me! Have a rockin' weekend! 

Alice In Chains, goofin' in 1991, photographed by Marty Temme.

Alice In Chain's William DuVall and Black Gives Way to Blue

 

One of the most iconic and memorable groups to come out of the grunge era, Alice in Chains is a band any 90's rock lover knows. But they aren't just a "90's band"- if you're still a fan today, you know that since 2009 they've been rocking on into the 21st century. They've changed in many ways, however. Some common to all surviving "grunge" groups, in that the sound pretty much ended with the turn of the century, so changing genres was almost inevitable. Always one of the heavier grunge groups (some considering them strictly heavy metal, and not grunge), they came back with a sludgier, doom metal sound, and it worked incredibly well for them, having already been pretty heavy. But there's one more thing Alice in Chains changed that was unique to them. 

Having tragically lost their sole frontman and lead singer, Layne Staley to a heroin overdose in 2002, Alice in Chains was in need of a new singer. Now, it is obviously an impossible task to "replace" someone like Layne; but that's not what the band ever had planned. They still had songwriter, lead guitarist, and secondary vocalist, Jerry Cantrell, who sang lead on multiple AIC hits (i.e. "Would?", "No Excuses"). And while Jerry definitely took over more vocal duties going forward, they needed a heavy, powerhouse singer who could sing Layne's parts, but make it his own. William DuVall was the answer to their prayers. 

William DuVall's band at the time, Comes with the Fall, was touring with Jerry Cantrell in support of his solo record Degradation Trip, and he was immediately impressed by DuVall's voice. It would be while this tour was taking place that Staley would overdose... An eerie and upsetting start to their musical partnership, but their meeting was definitely meant to be. In 2006 DuVall was formally invited to join Alice in Chains, and in 2009 they released their first new record in 14 years, Black Gives Way to Blue. 

I know this is a long introduction, but I feel the need to give an elaborate background to this record, as it has so much more meaning after you know all of this. The main point of my post is to focus on the significance of DuVall's joining the group on this particular record, and why it certainly couldn't have been an easy task. But that despite all of that, he absolutely crushes it.

The main reason why it would have been a difficult task for any new member to join at this time, let alone a new lead singer, is the nature of the record itself. Overall, it is an album made in memory of Layne. The title track itself is a piano-rock ballad (played by Elton John) mourning his death, and many other tracks on the album are about Layne. So it must have been pretty intimidating to join as his "replacement" on an album that is mostly about him. Somehow against all odds, however, William DuVall makes his own voice heard- and it is a powerful one. 

The third track, "Last Of My Kind", is the only track where DuVall technically sings lead completely (on others he and Jerry share vocal duties, or it is completely Jerry). And in my opinion- it rips harder than anything else on the record. When I was in high school and heavily in my grunge phase, AIC were for a time my favorite band. I picked up this CD from the library unknowing of DuVall's existence at the time, (having only listened to their work with Layne) but after a first listen of this song, you bet I knew who he was, and I was blown away. His vocal performance on this song shot down any potential skeptics or haters who would say something like "bUt He'S nOt LaYnE!" and made them shut up and listen. You'll have to give it a listen for yourself to really know what I mean-

While that track is definitely the best example of DuVall's vocal work since it is only his voice, a few tracks down on "Acid Bubble" also shouldn't be overlooked. This extremely slow, doom metal track showcases his ability to pair his voice perfectly with Jerry's, which would have been another pressure from AIC fans on DuVall. They take turns on the verses, and DuVall takes over on each chorus, his voice belting out their message. It is seven minutes of powerful sludge, that show the band's ability to shift genres and kick ass at it. Check it out below.

A third example of DuVall's vocal ability can be heard on another Jerry duet, "Private Hell", which is definitely more depressing, and less head-banging. But that just shows how his voice can also do well with a sadder, less aggressive song (though he definitely still goes hard on the chorus). I could go over every instance of his singing on the album that should be recognized, but I'll leave the rest up to you to discover on your own, because there is definitely something more special in being surprised sometimes. 

It is worth noting that DuVall gets to sing on the tracks that aren't allegedly (or confirmed) about Layne. I think this was intentional, and a good idea, so that it did not appear that he was overstepping his bounds as a new member of AIC, and leaving the commemorating up to Layne's former bandmates, and those who would have know him best. The album's opener also aids in DuVall's entrance to the band, even though he doesn't actually sing on it. "All Secrets Known" is Alice In Chains letting all listeners know that they're aware of everything that's happened to them, and that they are respectfully moving on. Layne is gone, and they can't bring him back. It's not the 90's anymore, and grunge is dead. But despite that- Alice In Chains will live on. And I think these sentiments behind the song really tell everyone to stop living in the past as well, and help make it easier to bring in a new lead singer. 

Overall, Black Gives Way to Blue is two things- It is an incredible eulogistic album, that pays more than enough tribute to Layne Staley in a beautiful and heavy way. And it is the place where William DuVall first gets to make his voice heard as a new member of Alice In Chains, and does so incredibly well, despite the tributary nature of the album. For longtime fans of 90's grunge AIC who haven't yet ventured into their newer works with DuVall- the time has come. Don't be afraid of it "not being the same" because that's exactly NOT what the band would want. And while it is different, and in parts heavier, if you're at all a metal fan- trust me, you'll dig it. William DuVall deserves to be viewed as a unique and talented individual, and not just as "Layne's replacement", and this record is proof as to why that is. Thank you as always for reading, and please check out all of Black Gives Way to Blue, and AIC's later 2000's works for yourself!

Twin Tribes - The Best New Goth Band You've Been Sleeping On

If you feel like you're burnt out on your usual goth or darkwave playlist, or maybe have a hard time finding new, up-and-coming bands, don't worry! I'm here to give you the answer to your goth prayers. Twin Tribes are are a very new (formed in 2017) goth rock duo that have already gained a dedicated following from their hometown of Brownsville, Texas, to countries across the globe. They're just two LPs into their musical career and they already have me and many other dark music lovers absolutely hooked. The title of this post is a little cheeky, and purposefully so, because it was really me who was sleeping on this amazing band. I just started listening to them a little while ago, and the first song I heard from them was "Fantasmas", off of their most recent record Ceremony, released at the tail end of 2019. By the end of that song...my mouth was definitely agape...I was in awe. 

Spanish for "ghosts", "Fantasmas" is an occult rock jam that seems to be about a seance gone wrong (or maybe right) and about becoming possessed by ghosts. Definitely playing off of their heritage and Mexican folklore, this song manages to give chills while also making you want to dance wildly, as if possessed yourself. With the chorus being entirely in Spanish, it makes my bilingual self very happy, and is so far one of their only songs with Spanish lyrics. I really hope that in future releases they feel free to incorporate more Spanish into their songs, as I thoroughly enjoy it, and think it sets them apart from many of the only English-speaking goth artists out there today. Please check out "Fantasmas" for yourself below and be blown away by their powerful sound...

The rest of the Ceremony record is also absolutely gorgeous and equally spooky. There's the pretty, forbidden romance-sounding "Heart & Feather". Whose key line "this curse we have we cannot hide", and dripping, chiming synths made me fall even deeper in love with Twin Tribes. Followed by the darker, more brooding "The River", where the vocals seem to go even deeper than they were already (very Dave Gahan-like, in my opinion). In fact, overall the track feels very Black Celebration era Depeche Mode for me...which, if you know me, is the highest praise I can possibly give, as that album is my lifeblood. The track is so beyond amazing, that even though I just had you all listen to one, I'm going to link it below. Since I could go on about all of Ceremony, I'll just tell you to check out the entire thing after this, because I swear you won't be disappointed. "Avalon" is another favorite of mine... Until then! Check out "The River" below, if you like~

Their debut album from 2018, Shadows, also definitely deserves to be talked about here. The title track has the same 80's goth energy of greats like the Cure or the English-speaking counterpart to Caifanes. "No one will find us as we run through the dark tonight", has that freedom in isolation from the rest of the world, that is a sentiment many goths share (also definite "A Forest" vibes). The music video gives it a more twisted, sinister meaning though. There's sacrifice, kidnapping, blood drinking, tarot, and fire...oh my! It aids in keeping the band shrouded in mystery, and is definitely worth seeing. Overall the record sounds more like classic post-punk, whereas Ceremony takes on a fuller, big, synth-driven sound that makes me think more of Depeche or She Past Away. This just shows the progression Twin Tribes has made in such a short time, and the scope of what their sound can be. 

The standout synthy track on Shadows, however, being "Dark Crystal". A pulsing beat to dance and cast spells to, as the lyrics seem to be advocating for just that. "Commence the invocation" made my Pagan instincts perk up immediately. Twin Tribes definitely know how to pair goth motifs of general despair and longing, with magical, witchy ones, and still keep it dancable. It is what I think makes them different than a lot of other groups in the scene, past and present, as not many directly touch on summoning ghosts, or performing rituals with crystals. 

Whatever your goth heart is itching for right now, Twin Tribes has got you covered. And if you're looking for a group to follow and see consistently great new material from, they've got you there too. At just three years old, they are a fresh new duo that could already sit among the goth greats, as far as I'm concerned. I look forward to seeing what their mystical, spooky selves come up with next.

Thank you as always for reading, and have a spooky weekend! Here's the chilling yet sensual, official video for "Shadows" below to kick-start it with!