March 2007 - RAG Magazine - Florida (USA)
Interview
with Robert Smith of the Cure
by; Monica Cady Interview
RAG: What are you most excited about right now regarding the Cure
Robert Smith: It's been a strange period, really. This is the
first interview I've done in ages. I was thinking that as I was dialing the
number. Normally, you kind of get into a groove with these sort of things, and
sort of field questions. I've been doing it long enough that I know how to do
it. But I haven't really thought about what we do in terms of summing it up in
an interview sense. It's quite weird to do it on the fly.
We started recording a new album last summer. We played a one-off show – similar
to the one we are doing in Miami – at Royal Albert Hall, last April, for the
Teenage Cancer Trust in London. It was just before we were going into the studio
because I wanted to remind everyone, you know, part of the reason for doing it
was to remind ourselves of why we do it – the main reason was because it was a
good cause and it was a great opportunity to play Albert Hall.
We started recording, which kind of went on and off through the summer. We ended
up with 33 songs, I think, by August. But interspersed with that were all the
re-released stuff. I've been putting together deluxe double packages for all the
Cure albums. I had to listen to everything – all the old tapes and get all the
extras together, and do the booklets and stuff. It was kind of time consuming.
Alongside that, I started writing a book, kind of like the official history of
The Cure book. And then, it was about August, a couple of people approached me,
who had been on the crew with us the previous year, when we had been playing
festival shows in 2005. They showed me some of the edits they had done on some
of the footage they got together, and played me some of the live recordings and
I thought, "Oh it would be okay. Why not? Let's go for it and try to get a DVD
done by Christmas."
But that was like a huge project. I didn't realize. I thought I would kind of
knock it over in a couple of weeks, but we struggled to get it out before
Christmas. That went through November and took up pretty much every waking
minute for about two months. That knocked me back, because the rest of the band
were kind of waiting around for me to do vocals so we could finish the album,
because I had only done, sort of, guide vocals.
We're now in the position where Christmas came and went, and we're back in the
studio. I'm finishing the vocals and mixing the album, which should really have
been done last October. So everything has been sort of pushed back. I think
we're on the third push back now from when the album's going to get released. I
think people have generally sort of given up putting a date on it. They are just
waiting for me to say, "Okay, it's done." And then we'll kind of fix a date.
The Miami show … we get lots of offers all the time, and the others were very
surprised that I accepted this, but it's seemed like such an unusual thing to
do. Because the one-off at the Albert Hall last year worked really well. It kind
of kick-started everyone. I thought that if we set our sights on playing Miami
in March, it would give me kind of an [album release] deadline that I had to
stick to because we have to be ready to play. We have to finish the new songs.
If there is no deadline, I could see myself going into this summer and picking
up a couple of projects along the way, and never really quite finishing [the
album].
Just the idea of playing specifically a dance festival is something that we've
never done before, and I like the band to experience new things – they are few
and far between. It's a great lineup. We're all now looking forward to it.
We just started, in fact, this week, thinking about what set list we are going
to put together because it's going to be a one-off, it's not going to be a
precursor to what we do. Because we will be playing this year, but we won't be
starting until kind of late summer, and we'll be playing through until
Christmas, but that will be on the back of the new release. And it will be our
own show, and it will be something different. This is much more to do with like
the Cure's dance side, I suppose. There's been a bit of conflict – actually,
just within the last 48 hours – in the band as to how
dancey
we should go.
There's a view that we've been – it's hard to kind of put into words really –
that there are quit a lot of people in the dance community – producers and DJs –
who really like the Cure, but who like the Cure because of what we do, and they
make us dancey.
We have become part of that [dance] culture because of what we do, and I suspect
if we try too hard to do what they (DJs, dance music producers) do, then we'll
kind of miss the point. It's almost like we're approaching it, in that we're
choosing a set list of songs that we think sums up why the Cure appeals to the
dance community. But we're not really
gonna
go all out and try and put on a dance show. So, it's a fine balance. It's nice
that we're focusing on something that's this odd. I suppose, in a way, because
it's quite a bit of work, just to do a one-off show, it makes the show that much
more special, which is the whole point of doing it.
I was really excited to see that you were coming to Miami. The last time I
saw you was at Curiosa, which was amazing.
Yeah, that's like a totally different thing. For me, personally, that was
probably the best touring experience I've ever had actually, because I loved
what went on behind the scenes. I just loved the camaraderie that developed on
that tour and the general sort of mayhem. I thought that as a band we sometimes
didn't rise to the occasion. I think a couple members of the band were kind of
tired of playing at that point. But I, personally, really loved every second of
it.
I saw your first show of the tour in West Palm Beach.
I remember it like it was yesterday. (laughs)
Do you think you'll ever do another Curiosa? That must have been a huge
project.
Um, we were approached to do one. I said I wouldn't do one the following
year in 2005. We were approached to do it last year, but I wanted to do a new
record, so we turned it down. It was suggested to us that we could kind of
almost continue it as a band kind of thing and get someone else to take the lead
slot. I figured that was sort of missing the point really. I mean I wanted to be
part of it. (laughs) The idea wasn't to make money. It was for me to have an
experience that I would never otherwise have. It was a very selfish reason why
it was put together in the first place. It worked really well, you know,
commercially people were surprised by how well it did. But that wasn't really
the point. And to put another one together, we've toyed with the idea for this
year – over Christmas we kind of talked to a few people – but at the end of the
day, there's a very strong sort of sense from hardcore Cure fans around the
world for us to play our own shows, to play for longer. The one drawback of
doing something like Curiosa is that the more bands you put on, the more
interesting it becomes generally, but the less time we have specifically [to
play]. And so therefore, it's almost like we have a cameo performance, you know
like 90 minutes or so, but never more than two hours. For example, at Albert
Hall last year we played just over three hours. And it just flashes by because
we really enjoyed it. And I would like to do that this year. I would like to
play Cure shows, rather than … you know, I think we'll still take a couple of
bands with us when we come to America, but it won't be the same thing with the
two stages and the whole razzmatazz. But I don't know, I never say, I mean maybe
we would do it again. Maybe we'll do it again next year. It's one of those
things where, I think if the right bands, sort of are there, the right feeling,
I suppose it's one of those things that probably could happen again.
What can you tell me about the new music? What's gotten harder and what's
gotten easier with regard to writing songs over the years?
Well, it's always the words [that] are the hardest part for me. The music,
we could probably record 100 songs a year, I should think; if we put our minds
to it. The music isn't really a problem. It is a lot harder for me to focus this
album, or has been, because of the return of Porl on guitar. He's
contributing such a different kind of musicality to the group. And because we
are all putting songs in the pot and saying, you know, "What does this sound
like?" We're trying lots of different things. We've actually got such a breadth
of different stuff. I mean, stylistically it's kind of reminiscent of the Kiss
Me album, because there are so many different things going on.
At one point, I was thinking maybe [this could be] a double album with some
instrumentals, and being really, really artsy. But after I talked it through
with the rest of the band, and primarily the record company (laughs), they
weren't very thrilled about a double album. [The label]
think[s]
it's conceptually sound, but in the current climate, probably not commercially
viable. So, I'm thinking we'll probably do the album in two stages. We'll have
one [released], which is, in and of itself, a thing. Then we'll probably have
like another kind of album, which will be a download album, and will complement
the main album. That's my thinking at the moment.
So I think the [songs on the] main album will probably be more connected. It's
really, really difficult talking about new music. Because it does sound like us,
but it doesn't sound like us at any particular time. You can definitely tell
that Porl
is back in the band, so it kind of reminds me of the period of Kiss Me,
Disintegration and Wish – just because the mood within the band [shows that]
Porl's
character has come back.
We have got a keyboard in the studio, but it's been used very, very sparingly.
There are little touches of piano, and little bits of noise here and there. But
generally, it's just a four-piece band. It's bass, two guitars and drums. And
it's quite stripped down. There's a lot more space in what we're doing, but it's
really a lot more powerful, in a funny way. Because we've only been back in the
studio for two weeks, it seems like a long time ago that we played these songs.
It's almost as though they're old songs because I've been listening to them
since last July. It's amazing that they haven't leaked. It's scary isn't it?
Yeah.
That's because I'm the only person in the world that's got a set. (laughs)
Do you write lyrics every day?
Since we released the last album, which was mid-2004, I've got – I don't know
how many pages – a box full of words. I write just as a matter of course. I just
write thoughts. But I've never made myself kind of think, "Now I'm writing. This
could be something." Because I think that would take away [from it]. It's almost
like trying too hard to remember your dreams. It becomes somehow a little bit
too intellectualized. I'll often read back on what I wrote and just think,
"Rubbish!" and tear it up and throw it away. But at the time I'm writing, I know
it doesn't have to be good, and so therefore, it's a release. It's like playing
guitar when you're drunk. It always sounds bad the next day. (laughs)
But when we start doing a project, I look through this box of words, and I start
trying to match up words to music, and sometimes it's very easy. Other times,
it's not so easy – particularly after all this time. I'm kind of 300 songs in
[at this point in my career]. It's difficult to try and be genuinely excited
about what I'm trying to say. I don't see any point, really, in writing words so
that we can make a record. It's never made any sense. It was much easier when I
was in my 20s, and I had only done like three or four albums. This is like the
13th album along. But I'm not worried about it.
I think I did do an interview in the last six months, and the interviewer took
what I was saying [and made it seem like] I was suffering from writer's block.
And I thought, "This is so wide off the mark." I've never understood the concept
of writer's block because if you haven't got anything to say, then you haven't
got anything to say. It has absolutely nothing to do with trying to write.
I've got so many words. But it's one thing to have sheets and sheets of words in
front of you, and it's quite another thing putting it together in a song. Unless
you try it, I don't think writers – that's basically journalists – struggle to
see the difference in just like writing a few words and actually imagining
yourself in front of a microphone, performing those words and singing them. It's
a totally different thing.
I've got an ongoing book, that's been going on for years, of things that I think
are quite good that I've written, but I would never sing. I couldn't dream of
singing [them] because the words are wrong. They would sound ridiculous if I
sang them. But on paper, and when I read them to myself in my head, I think they
work quite well. So at some point, I'll make that into a thing that will be
totally separate. It'll probably be about 600 pages long. (laughs) The stories
of writer's block will be knocked firmly on the head.
When you write lyrics do you always write as yourself, or do you ever write
through the eyes of other characters?
No, well, if I was really honest, I think the best songs that I've written
are me singing, because I feel better. They feel right. Probably some of the
bigger songs, or the most popular songs, aren't really me singing. I don't limit
myself to my own experiences. I try to write from other people's point of view.
I try to write from an imaginary point of view. But often, I'll just come back
to something much simpler, and something I've written in that particular time
when I was feeling strongly about something. And they're usually the songs that
mean something to me.
I think it's the difference between writing a song that has a lot of emotional
content and writing a song that's just a good song. The trick, I suppose, is
making that good song connect with people, and that's really hard. I think any
singer who kind of means what they sing – who doesn't just read the words off a
piece of paper – is trying to get inside the character. Writing it is one thing;
but actually trying to inhabit the character when you perform it, is another.
There are things that we do, where I'm singing things that in my real life I
wouldn't dream of saying or singing about; but they're more, kind of,
performance things. They sometimes are the songs – when I listen back at our
albums, which isn't that often, but when we do the
remasters
– I think, that I meant, and I can think, that one I don't think I was too sure
about.
On the Kiss Me album, that was kind the first time I tried to write from another
perspective. I think before then, everything I had written was from my point of
view. I think the Kiss Me album, in a lot of ways, was me trying out different
things and the band tried different styles. I tried different ways of singing
and different ways of writing. But with Disintegration, I went back to my own
point of view. And then I tried a different thing again with the Wish album. So,
I sometimes incorporate it, but I would prefer it if I could write all the songs
from a kind of more heartfelt position because I just think they work there – or
they last longer, I think.
To what do you attribute your longevity, and even your influence on so many
new, younger bands?
It's partly what we were just talking about. I mean, I've met and gotten to
know a few of the younger generations of bands. I think that the one thing they
all had in common with regard to the Cure was that they enjoy the fact that
we've kind of hung around, and we've done what we wanted to do, and we've been
successful but we haven't courted that success. We've kind of just forced our
own path, and we've meant it. I think it's that the perception is that we have
done what we wanted to do, and even if it had gone wrong, we wouldn't have
changed what we did. I think it's that any young band that's any good has to
aspire to that – anything else is just worthless. If you succeed on someone
else's turns, it might be great at that moment, but I suspect it's pretty short
lived. I mean the idea of being proud of what you do – whatever you do – is far
more important than the end result. The experience of doing it is worth more
than the end result, to be honest. [It's] all of those things.
It is difficult to resist the temptation just to become rubbish. So many bands
as they grow a bit older, they just get worse. It's a struggle, and, you know,
life has a tendency to take over. It's a terrible thing to resist [regular life]
entirely. You can't just like keep being in a band. I mean there are a couple of
older bands who sort of think all we need to do is be in a band, whereas I like
the idea of sort of balancing playing music with other people and integrating
into a more kind of rounded life as you get older. I mean it would be awful for
me to feel as alienated and disturbed as I did when I was in my 20s, at this
stage in my life. I mean, I would be dead if I felt like that. So, at the same
time, when the Cure does do something, I get so immersed in it, I feel like I
felt when we did the very first album. So nothing's really changed.
What do you do when you are not focusing on music?
I've got a huge extended family, there are almost 40 of them. It's like
uncles, aunts, nephews and nieces, and brothers and sisters and stuff. I spend a
lot of time doing normal stuff but without the incumbents of a normal job
basically. I have the ideal life that people would like, in that my work is
probably the thing that I enjoy the most, and I do it when I feel like it. I
kind of go for walks, and I am trying to take up astronomy in a more serious way
over the last few years. I am trying to catch up on a lot of things that I've
missed on film and television over the last few years when I've been on the
road. I've been reading books actually. That's been my biggest chore. I think I
read about 15 books in the last two months. And [I do] things that seem really
dull, but actually just sitting down and thinking, "I can read until I finish
this book and no one can interrupt me." It's that kind of luxury that I really
value still. It's something that when I was in school I used to dream about –
not being interrupted. It's that part of what I do that I enjoy the most.
Do you think people have this misconception that you are sad and gloomy all
the time because some of your songs are melancholy?
Um, I think there was a misconception for a long time. I don't think it's
probably as bad now because when we're (pauses) – that's a tricky one. (laughs)
The Cure still makes some pretty dark music. I mean there are songs on this
[next] album, which are among the darkest that we've ever done. They reflect a
part of my character that's still there, that will never go away. I still am
subject to incredible bouts of depression, I suppose. But it's in the same way
as pretty much everyone I know who thinks about what's going on, is subject to
those kind of dark thoughts and dark moments.
I've always tried to work [my emotions] out and into songs as music. Sometimes
they work so well that other people kind of feel that they're about themselves.
It's great when that happens because I think that's the reason why I'm doing it.
You know, if I was doing it for just myself, I wouldn't bother recording the
vocals. So, it's a wonderful thing when that happens.
But, I suppose if there ever is a downside, it's that then this perception
starts to grow that that's who I am. But I've always maintained that I'm just
not very good at writing happy songs. (laughs) It's really honestly as simple as
that. Occasionally I come up with a really good happy song like "Mint Car" or
something, and then I shock myself. I think, "I'm genuinely happy in this song."
But most of the time when [the band is chatting, they] will say, "Let's do
something a little more upbeat," and I try it, and it just sounds awful.
(laughs) It sounds really insincere.
Last summer, when we recorded, it was the best time that I've ever had in the
studio - ever - like my whole life. It was just such good fun. And yet, at the
end of the day, we would listen back to what we had done, and it would be
incredibly doom-laden. So it's a weird sort of dichotomy. The happier we get as
a band, kind of the gloomier the music gets. I think it's one of those things
where if we were really unhappy with what we were doing, we would try and
(pauses) – it's kind of what they say about comedians being really tragic, you
know, I suppose we must be pretty happy. That's why we make miserable music.
But, all jokes aside, I think the reason that perception has sort of dissolved a
little bit or gone away is because the Cure's work is now seen in a slightly
different way. [Especially with the remasters] it's kind of saying, "Well hang
on. We do songs like 'Mint Car' and all those pop singles." It's kind of like
the Miami show. We're being asked to do that primarily because of the singles,
not because of the permanent epics, but that's a side of the band that I really
enjoy.
There are so many different sides to the Cure that it's very hard for us to
think that everyone thinks, "Ah there's that miserable bloke." There are too
many instances where I'm not that miserable bloke. It doesn't really work. I
think without that really dark side, I don't think the Cure would be a very
interesting group.
Pete Wentz said that he was too intimidated by you to say hello when you two
rode an elevator together. You're such an icon and I would imagine a lot of fans
might be too intimidated to talk to you. Do fans approach you often?
Um, yeah, I think we've really been accessible. Well, I haven't seen a lot of
bands being in close proximity to other bigger bands. I think we're pretty
accessible. I mean, certainly as people we are. It's sometimes hard to be as
accessible as fans want you to be because fans see you from their point-of-view,
whereas I see 500 people. One of those 500 people just sees me. Sometimes you
can't probably be as accessible as you would like to be because it's physically
impossible. You often see people sort of hanging back, and you're thinking, "Go
on, go on, take the step, I'm not going to bite you." The more outgoing people
are obviously the ones at the front of the cue, kind of thing. But um, I mean
we've always had really good rapport with our fans. I mean, I hate talking about
the fans because we've gotten to know so many of them over the years that there
are actually a lot of them who are friends really, on first-name terms and I
have numbers in my phone of people who I first met backstage or outside. So, you
know, whenever I look at people, I don't look at them as fans. I just look at
them as people who enjoy the show. I know it seems like a foolish distinction,
but it's kind of important. I would hate to kind of take it for granted that
people like the Cure just because we're the Cure, you know, that would be in a
bad mistake.
So, you know, people being kind of worried about what's going to happen if they
say anything [to me] – actually, they should be. (laughs) Be frightened to
speak.
Tell me about your experience with South Park. Do you keep in touch with Matt
Stone and Trey Parker?
Yeah, I saw them on the Curiosa tour. We don't hang out. (laughs) It's kind
of hard living on the other side of the world. I still watch South Park. I still
think it's one of the best things on television actually. It's excellent how
they keeping pushing. I mean I think they've been trying to get themselves taken
off the air for the last three years. They just haven't managed it yet. (laughs)
It's refreshing. They deal with subjects in their own way, which a lot of people
are kind of reluctant to touch. I think underlying South Park, amidst all the
idiot humor, there's always the part where they say, "What have we learned? I've
learned something today." I share my enjoyment of it with my nephews and nieces.
It's one of those bonding things. Everyone kind of sits around and rolls with
laughter. When I was in [the South Park episode], it was a career high for me.
Do you still wear MAC Ruby Woo?
You know, that's a good question. I have no idea. I still wear MAC because
they gave me a huge box of stuff. (laughs) I have no reason to change. It
doesn't run on stage, which is what I really care about. I'm not wearing make-up
at the moment.
You do your own makeup before you go onstage, right? You don't have someone
do it for you.
No, I always do it. I hate people touching my face. It drives me mad.
A lot of fans probably wonder whether you check your own MySpace page, or if
it's a record-label thing.
Ooooh, it's not a record label thing. The thing about MySpace, last year,
when we were in the studio, we had a Cure MySpace page and then Geffen was doing
it. It was last spring. And I realized, I had been told by a couple of people,
that someone in particular was pretending to be me, and people were being taken
in by it. And they were getting e-mails and stuff, and it was all getting a
little bit unpleasant. And so I went on to MySpace and created a site. And I
said to the other [band members], we should all start our own pages, if for no
other reason than to kind of run our own MySpace pages and link them to the
Cure, and at the same time take over control of the Cure MySpace site.
So, the Cure MySpace site is run by us, in much the same way as the content of
the Cure – the www.thecure.com
is run by us. It's really weird because I post on there and my name comes up,
and I'm posting in big capital letters and people still think it's the record
company. With the Cure MySpace page; that's run by us. With the individual ones,
I think Porl's
page is quite active, and Simon's as well. I don't think Jason even knows he's
got one. And mine, I think I've got five friends at the moment because the Cure
page, I think, is much more important. The friends' request is run in a proper
way. Mine is just to stop anyone else from pretending they're me.
I suppose I've got a lot of younger nieces and nephews who are on MySpace. I've
always been very loathed to go on because I fear that there's something slightly
uncomfortable about their Uncle Robert going on MySpace. So I like the idea of
me having a page so that no one can pretend to be me, but I don't really think
that I should get too heavily involved as an individual. I think the band
benefits from being on there. I think it's kind of a good networking thing. But
I think it's weird how many people who are kind of my age are on there. It feels
a little bit kind of odd, I don't know. But if I say that, people will look at
me and say, "What do you mean odd?!" (laughs) It's like a young person's
community. That's what we got from it when we were investigating it last spring.
It's a great idea. It's a fantastic idea. But it's not really for us. I mean our
network takes place in the real world, and we go to Japan and America and meet
people. You know, it seems rather strange for us to inhabit this place where
people haven't got the means or aren't old enough basically to kind of be out
there doing it for real, but hopefully … I think the best thing about it is that
it engenders this idea of a global community in a very real sense. In that way,
it's a good thing. You know, the marketing side and the advertising side will
eventually make it uncool,
and people will probably migrate to something else. But the actual concept of it
is such a great concept. We have to be involved in it because we are a global
band.
I know you said the label wasn't really supportive of the double-album
concept for your next release. Considering the challenges in the record industry
lately, do you think the label tries to have more control over what you do than
they did in earlier years?
No, they don't really. If I wanted a double disc; I would have it. They
wouldn't stop it, but they just are advising me that they don't think it's a
good idea in commercial terms, which is what they're there for. I mean they're
not questioning what I do artistically. They wouldn't dare. Well, actually, they
wouldn't want to because we are on the label because they like what we do.
There's no point in them trying to second-guess what I do. That's why they
signed us. No, I think, I mean it's obvious to me, as well, that the trend is
away from albums. [The trend is in] the single downloads.
We're probably on the cusp of a complete paradigm shift with regards to how
people listen to music. I realize that we are at the end of a particular era. We
grew up with punk and we've kind of gone through to the end of this album-based
era. I think it is changing, which is kind of sad in a way because I like the
idea of like an hour's worth of music by an artist, but then, maybe that's just
because that's what I'm used to. Many people now just like listening to songs
rather than albums. I think we don't suffer as much as a lot of people because
there's very little filler on a Cure album. That's why it takes so long to do.
(laughs) People, generally, with our downloads on the stuff that we've got, it's
our albums that are downloaded. It's very, very rare that people download single
Cure tracks, when I've looked at the [reports] that comes my way.
With the Festival DVD, we gave it to the label and said, "We want this sold
around the world at the lowest possible price. We actually don't want to have
any money from this at all. We just want you to sell this double disc for
nothing." And they went with that. They were happy. Well, they weren't actually
that happy with it. But they understood the concept of it.
It's always difficult to get the balance right when you're dealing with people
who essentially, at heart, want to be commercially successful. That's what
record companies are. There are people at record companies who are really good
people, and who care greatly about the artists, and essentially the music, and
understand that is the reason they exist. There are other people at the record
companies who find the artists irritating and the music kind of an annoying
product, and wish that they were selling something easier so they could make
more money.
I've always thought that we control our own destiny, but I've never been too
involved with kind of the lacerations of the record industry. It's kind of
trite, really, and a lot of the people are so stupid and it's just not worth it.
I guess one of the benefits of getting older – there are a few, but not many
(laughs) – is I find myself being older than most of the people now who are
telling me what would be best, and kind of dry out my senses because they
probably realize that I've seen that and done it. It gives me a certain amount
of clout, I suppose.
Definitely. What are your plans while you're in Miami?
We're staying for a week actually. It will give us a nice break in the sun,
and will do us good.
(Interview RAW)