Pornography is often referred to in The Cure’s early eighties trilogy (which also includes Seventeen Seconds) as a classic, but I think their third album, Faith, is absolutely divine, and overlooked. Far from being as miserable as painted, it’s actually pretty diverse in scope. There’s the anthemic ‘Primary ‘, shimmering majesty of ‘The Funeral Party’ and one of the most gorgeous, soothing Cure songs ever penned in the beautiful, minimal ‘All Cats Are Grey’.
Robert Smith sounds on the edge of tears, bratty and snide here, often all at once. His androgynous vocals, high in the mix, seem so out of step, in both the pop and postpunk genres, that the band remain genuine outsiders. His was a sensitive masculinity, and remains so. Themes of innocence, dreams, thwarted desire and loss loom large here, as they often do with The Cure.
Smith often spoke of his sources of inspiration coming from literature, dreams and philosophy: this patchwork of influences coloured the cream of their work. It’s a rare gem. As with the most interesting art, it divided critics on release.The title track seems to encapsulate the band’s ethos: ” There’s nothing left but faith”.
Hit The North 
Hey I like how you skipped off the new single into this one. And likely few better titles than this for this time of year, right? I was introduced to the band with a collection called Standing on a beach, the singles, I think, in 1987. Same year as that New Order album / collection Substance. And I think the last Smith’s album. Not to mention REM and the Replacements (what a time). I later said something derisive about the Cure’s Kiss Me album sounding too poppy and a friend reminded me they’ve always been a pop band. But on a record like Faith that’s more discreet and somehow more real innit? Those gloomy beats and spooky, shimmering sounds. Good poetry in your write up here too Lorelei, keep it coming! I’m more a Faith guy than Pornography too. Seventeen Seconds next I think.
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