{"id":15955,"date":"2012-08-20T09:00:00","date_gmt":"2012-08-20T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/the-cure-delay-makeup-and-songs-that-filled-arenas\/"},"modified":"2026-09-26T23:59:30","modified_gmt":"2026-09-26T21:59:30","slug":"the-cure-delay-makeup-and-songs-that-filled-arenas","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-cure-delay-makeup-and-songs-that-filled-arenas\/","title":{"rendered":"The Cure – Delay, maquillaje y canciones que llenan arenas"},"content":{"rendered":"

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De Crawley a Disintegration: sombra post-punk, luego melancol\u00eda a escala de arena<\/h3>\n

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The Cure se formaron en Crawley, una ciudad dormitorio al sur de Londres, alrededor de Robert Smith, Laurence Tolhurst y Michael Dempsey. Smith hab\u00eda tocado en un grupo escolar antes de que el conjunto se consolidara bajo el nombre Easy Cure y luego simplemente The Cure, firmando con Fiction Records en 1979. Three Imaginary Boys (1979) lleg\u00f3 con una portada que Smith m\u00e1s tarde renegar\u00eda y un sonido moldeado por Wire y el circuito post-punk: canciones cortas, producci\u00f3n seca, \u00e9nfasis en la secci\u00f3n r\u00edtmica. El instinto pop ya estaba ah\u00ed bajo la austeridad.<\/p>\n

Los primeros ochenta fueron los a\u00f1os oscuros, deliberadamente. Seventeen Seconds (1980) introdujo un sonido cargado de reverb construido sobre l\u00edneas de guitarra superpuestas y el bajo de Simon Gallup bajo la voz a medio camino entre el habla y el canto de Smith. Faith (1981) y Pornography (1982) completaron un arco de compresi\u00f3n: canciones m\u00e1s largas, tempos m\u00e1s lentos, letras hacia la abstracci\u00f3n. Pornography fue grabado en un estado de disoluci\u00f3n qu\u00edmica; el grupo casi se disolvi\u00f3 antes de terminar las sesiones. Se abre con un susurro hablado y acumula oscuridad sin ofrecer un solo momento de alivio. Se vendi\u00f3 modestamente entonces; su reputaci\u00f3n creci\u00f3 despu\u00e9s, y gran parte de lo que se clasificar\u00eda como shoegaze y darkwave traza una l\u00ednea hasta \u00e9l.<\/p>\n

Tras la trilog\u00eda oscura, Smith cambi\u00f3 de direcci\u00f3n deliberadamente. \u00abLet’s Go to Bed\u00bb (1982) y \u00abThe Walk\u00bb (1983) eran singles pop intencionados, casi bromas a expensas de la intensidad anterior. Funcionaron comercialmente y desconcertaron al p\u00fablico existente a partes iguales. The Head on the Door (1985) coloc\u00f3 los registros m\u00e1s oscuros y m\u00e1s brillantes del grupo en la misma secuencia: \u00abIn Between Days\u00bb ten\u00eda una claridad folk; \u00abClose to Me\u00bb convert\u00eda la claustrofobia de una habitaci\u00f3n peque\u00f1a en un hit \u00e1gil; \u00abSinking\u00bb volv\u00eda al tempo f\u00fanebre. El disco entr\u00f3 en las listas brit\u00e1nicas y abri\u00f3 el mercado de la radio universitaria americana.<\/p>\n

Kiss Me Kiss Me Kiss Me (1987) estir\u00f3 el rango a lo largo de un doble \u00e1lbum: \u00abWhy Can’t I Be You?\u00bb era lo m\u00e1s deliberadamente pop que hab\u00edan publicado, mientras que \u00abThe Snakepit\u00bb apuntaba de vuelta al per\u00edodo oscuro. El p\u00fablico americano los encontr\u00f3 en MTV. Disintegration (1989) es el disco que la mayor\u00eda de oyentes citan como el texto esencial: nueve canciones, la mayor\u00eda de m\u00e1s de cinco minutos, construidas sobre colchones de sintetizador en expansi\u00f3n, el bajo de Gallup en los graves, los teclados de Roger O’Donnell y la voz de Smith interpretando el duelo a un tempo que se niega a acelerar. \u00abLovesong\u00bb lleg\u00f3 al n\u00famero uno en EEUU, un hecho que sorprendi\u00f3 al grupo y desconcert\u00f3 a parte de su p\u00fablico m\u00e1s antiguo.<\/p>\n

Los noventa trajeron Wish (1992), con \u00abFriday I’m in Love\u00bb – la canci\u00f3n m\u00e1s directamente radiof\u00f3nica que Smith hab\u00eda escrito – junto a material m\u00e1s oscuro que equilibraba la visibilidad comercial. Wild Mood Swings (1996) fue menos coherente. Bloodflowers (2000) regres\u00f3 a un enfoque m\u00e1s lento y austero que recordaba a la trilog\u00eda oscura. El disco hom\u00f3nimo de 2004 y 4:13 Dream (2008) confirmaron que Smith segu\u00eda comprometido con el proyecto. Songs of a Lost World (2024), el primer \u00e1lbum en diecis\u00e9is a\u00f1os, lleg\u00f3 con una producci\u00f3n esc\u00e9nica convertida en evento teatral de arena.<\/p>\n

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Las influencias est\u00e1n integradas en los arreglos. Siouxsie and the Banshees eran vecinos cercanos en el circuito post-punk, y Smith actu\u00f3 brevemente como su guitarrista de gira; su teatralidad g\u00f3tica dej\u00f3 marcas claras. El per\u00edodo berlin\u00e9s de David Bowie – Lodger, Scary Monsters – molde\u00f3 la sensibilidad de producci\u00f3n: cargado de reverb, fr\u00edo en textura pero no en emoci\u00f3n. La compresi\u00f3n r\u00edtmica de Joy Division, el enfoque de guitarra de Jimi Hendrix en el juego temprano de Smith, y un inter\u00e9s constante por el cine y la literatura franceses tambi\u00e9n aparecen en las referencias del grupo.<\/p>\n

S\u00f3nicamente, el grupo es identificable desde los primeros segundos de casi cualquier canci\u00f3n. La guitara est\u00e1 muy procesada: delay, chorus y reverb apilados para crear un brillo entre el ataque de la p\u00faa y el halo ambiental. El bajo de Gallup proporciona la base mel\u00f3dica, movi\u00e9ndose a menudo por los cambios de acordes mientras Smith toca l\u00edneas de guitarra que colorean en lugar de enunciar. La voz de Smith permanece en el rango medio y nunca ha adoptado una entrega rock convencional en ning\u00fan punto del cat\u00e1logo.<\/p>\n

Las puertas de entrada dependen de d\u00f3nde se quiera llegar. Disintegration para la escala g\u00f3tico-pop completa, donde lo oscuro y lo bello llegan juntos. The Head on the Door para el disco m\u00e1s equilibrado entre esos registros. Boys Don’t Cry, la compilaci\u00f3n temprana de singles, para el primer per\u00edodo concentrado. Kiss Me Kiss Me Kiss Me si se quiere el mayor rango en una sola escucha. Frente a Joy Division, The Cure siempre estuvieron m\u00e1s comprometidos con la melod\u00eda: Smith escrib\u00eda estribillos que funcionaban sin tolerancia especial por la abstracci\u00f3n. Frente a Bauhaus, The Cure eran menos teatrales y m\u00e1s directos emocionalmente.<\/p>\n

Lo que el cat\u00e1logo ha mantenido a lo largo de cinco d\u00e9cadas es el equilibrio entre sus dos polos sin resolver nunca la tensi\u00f3n. La oscuridad es audible en los arreglos de guitarra y en el enfoque vocal, pero el oficio pop est\u00e1 ah\u00ed debajo, y ninguno de los dos anula al otro. Los oyentes que llegaron por \u00abFriday I’m in Love\u00bb encontraron Disintegration en el mismo estante. Ese margen – m\u00e1s que una identidad fija – es lo que hace de The Cure algo m\u00e1s que un documento de g\u00e9nero.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

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