Birds tumble from the sky, fragmented voices beckon us home, and youthful aspirations clash with the ephemeral nature of existence in The Cure’s first new track in 16 years. Recently, we had the opportunity to speak with Alexis Petridis, who shed light on the band’s latest creation.

Every devoted Cure fan knows the band’s albums span a continuum between two distinct poles. On one end, there are albums where Robert Smith showcases his knack for pop songwriting—think *The Head on the Door*, *Wish*, and even the often-underrated *Wild Mood Swings*. On the opposite side, we encounter deeper dives into existential despair, characterized by lengthy compositions that prioritize depth over radio-friendly melodies, exemplified by *Pornography* and *Bloodflowers*. In an era where chart performance is less relevant for a band like The Cure, their much-anticipated single hints at a return to these darker themes in their forthcoming album, *Songs of a Lost World*.

The single, titled “Alone,” clocks in at nearly seven minutes and opens with a lengthy instrumental introduction reminiscent of “Plainsong,” the debut track from their iconic album *Disintegration*. The sound is deliberately fragmented; Simon Gallup’s bass doesn’t propel the piece but instead layers it with a sense of distortion. The chilling synth and signature Cure guitar weave in and out, creating a tension that feels precariously near to unraveling. With a majestic chord progression, there’s an innate beauty in the bleakness—despite their darkest moments, The Cure remains melodically engaging. However, the tempo is glacial, intensified by the absence of hi-hats; the rhythm relies solely on a bass drum, snare, and the occasional cymbal crash, evoking comparisons to the stark drumming approach found in *Pornography*, particularly in the track “Cold.”

When Smith’s voice finally surfaces, he shares lyrics that draw inspiration from Ernest Dowson’s 1899 poem *Dregs*. Dowson’s work has influenced many songs, contributing memorable lines like “days of wine and roses” and “gone with the wind,” but *Dregs* explores themes of ghosts, hopelessness, and mortality. “Alone” resonates with this essence, conjuring imagery of mortality through lines about falling birds and the fleeting nature of dreams. Now at 65, Smith’s thoughts on mortality ring true: “Where did it go? Where did it go?” he questions earnestly in a poignant moment. His voice largely remains unchanged, yet the weight of his current reflections starkly contrasts with the youthful indifference he previously expressed.

Smith’s focus on mortality likely stems from personal loss; he has shared how the passing of his parents and older brother during the protracted creation of *Songs for a Lost World* has influenced the music. The full extent of this impact will likely become more evident as the album unfolds. As a preview, “Alone” delivers a clear message: for those who consider *The Lovecats* or *Friday I’m in Love* the zenith of The Cure’s work, it may be time to recalibrate their expectations. For fans who thrive on The Cure’s more somber and melancholic side—something Smith seems to fully embrace—“Alone” serves as a fascinating appetizer for what’s to come.