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Interview: Someone Still Loves You Boris Yeltsin

borisyeltsinSomeone Still Loves You Boris Yeltsin returned recently with the rather wonderful new album Fly By Wire. Without giving too much away, if you found a bookmaker offering odds on that being our album of the year and you put a few quid on it….well, let’s just say you’d be doing well with the whole transaction. Yes, it’s an absolute corker, full of delights that softly sneak up on your heart and then steal it. The hushed vocals recall The Pains of Being Pure at Heart while the oddly affecting melodies twinkle like the Cure at their heartfelt poppiest. We caught up with the band to ask about the album and what’s in store for them next:

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New to You – Death Rattle

To be honest, with a name like Death Rattle you don’t really expect sun-kissed Brian Wilson-style pop hits.  Chilled, brooding and the perfect soundtrack to introspection? That they can do. With a sense of pained beauty that recalls Portishead merged with the omnipotent darkness of early Cure, they make music that’s both yearning and accessible. They’ve been bunkered away recording their new EP Fortress and have popped out this taster video. It’s really good. I’m sick of summer by now anyway.

The Cure perform ‘Reflections’ – The Royal Albert Hall, London

If ever a band defied critical convention, it’s The Cure. Few artists have managed to both create and inhabit their own universe as completely. Existing in parallel to the trends of the last 30 years means that there has rarely been anyone non-committal on the subject of Robert Smith et al. Simply put, you either get The Cure or you don’t. That means that any review in terms of the wider world of contemporary music is a bit pointless. Those who don’t appreciate the work never will. Therefore, assessment of a Cure album or show can only be done in the context of whether it was a good Cure album or show. Only those with knowledge of this alternate universe – fans – can really do that but they, by definition, tend to be a bit biased. Hence the dilemma.

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The Cure sell out the Royal Albert Hall in just eight minutes

Recession? Pah! It seems that there will always be a market for middle-aged men in make-up. Well, that’s the conclusion to be reached after The Cure sold out the final ‘Reflections’ show at London’s Royal Albert Hall in just eight minutes. With tickets averaging around £125, it’s an impressive testimony to the deep appeal of Robert Smith and co.

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From the Vault – The Cure

There are many stages in the evolution of the Cure. This captures them at a pivotal moment of their development, moving from the new wave of their early work to the dark goth overlords of Pornography. Soon they’d go electro, then classic pop. But this is still pretty wonderful.

 

Winter Wonders – Five songs for snowy days

Ah, snow. It is beautiful when the world looks like a Coca-Cola advert, there’s no doubting it. But – and this is a big but – it’s also one almighty pain in the hole. Getting to work becomes an adventure, but a dreary, frustrating one. Kids throw snowballs from unseen locations and then run to the police when you catch them and threaten to stove their head in with a brick. Pipes burst. People fall. Old people’s flats start to smell really bad.

But, say you’ve made it home, the open fire is roaring/central heating is on….there are a few toons which will enhance your winter pleasure. Here are a selection…

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Wednesday what’s new – Crystal Castles ft. Robert Smith

Crystal Castles have always given the impression of being far more cool than good. Far too much emphasis on haircuts and not enough on actual records led to a couple of albums of undoubted potential but ruined by several bleepy wig-outs which sounded like the fridge playing up.

However, this seems to have unblocked the creative pipes, as their new single is a corker. ‘Not In Love’ features Robert Smith and thus sounds like a Cure song. This is, undoubtedly, a good thing. Indeed, as Smith wonders which way to take his day job, can we humbly suggest that the world would prefer them to go electro again rather than continue to mine the heavy industrial goth of the last few albums? Just a thought.