THE CURE Dis­in­te­gra­tion (Rhino

Pasatiempo - - Pasa Tempos - — Rob DeWalt

Records) Dig out the black eye­liner; it’s time to get pouty like it’s 1989. That’s the year lead singer Robert Smith and his gloomy, melan­cholic alt-rock brood The Cure re­leased

Dis­in­te­gra­tion, sig­nal­ing The Cure’s re­turn to more gothic-tinged fare af­ter its 1987 sac­cha­rine-pop re­lease, Kiss

Me, Kiss Me, Kiss Me. With the band weath­er­ing a tem­pest of per­son­al­ity con­flicts and Smith in self-im­posed, hal­lu­cino­gen-in­duced iso­la­tion dur­ing the record­ing of Dis­in­te­gra­tion, dread and ten­sion were bound to seep into the mu­sic. You’ll find it here, too, es­pe­cially on the bonus disc of in­stru­men­tals and rare demos from 1988 and 1989. It’s a must-have for Cure devo­tees, and it com­pen­sates for the dis­ap­point­ing re­mas­ter of

Dis­in­te­gra­tion in­cluded in this three-disc pack­age. With ridicu­lously in­creased bass lev­els and an over­soft­en­ing of most in­stru­men­ta­tion (es­pe­cially per­cus­sion), the sprawl­ing, echo-y at­mos­phere of the 1989 press­ing dis­ap­pears, as does some of the dark tone that orig­i­nally oozed from songs like “Prayers for Rain.” The carrot on a stick for most die-hard Cure fans here is a third CD, En­treat Plus — newly remixed live ver­sions of

Dis­in­te­gra­tion’s songs ar­ranged in al­bum or­der that were recorded at London’s Wem­b­ley Arena in July 1989. (Most of the songs ap­pear on the 1991 live al­bum, En­treat, but there are four bonus tracks here worth hav­ing.) Bri­tish mu­sic jour­nal­ist Johnny Black’s brief but well-crafted liner notes should have most ag­ing bat-cavers hap­pily cruis­ing Fas­ci­na­tion Street once again.

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