Stephanie Rodas, 28, has been anorexic for 16 years. She used to be obese and often bullied at school at 13. She began to eat less, and her weight dropped to as low as 55 lbs at one stage when she looked more like a ‘walking skeleton’.
“I felt I looked very ugly when I was 13,” said Rodas. “I was over-weight, and my classmates nicknamed me ‘fattie’. Everyone would throw food at me in the canteen.”
When she was 17, her family took her to a hospital in New Jersey for treatment, but her condition continued to deteriorate. She was never cured, but managed to obtain a discharge from the hospital by learning a few ‘tricks’ from fellow patients by meeting food intake requirements. Subsequently, her condition turned from bad to worse, and the many years of treatment have failed to produce positive results.
In February, she became unconscious for three days after taking painkillers and was close to death.
She recently appeared on ‘The Doctors’, an American TV show, where she appealed for treatments that could cure her ailment. “There must be a cure somewhere,” she said. “I have never felt I could make it, and I don’t know if I could overcome this hurdle.”
She then underwent a number of tests, including blood test and ultrasound, in order to ascertain the damage anorexia had done to her body, before doctors could decide on the treatment.
You might think that after being silent for 16 years, The Cure would be in a rush to get things going. Think again. It takes over three minutes of “Alone” — the first song on their new album — before we finally hear Robert Smith's voice. The Cure are back, but definitely on their terms.
The eight-track album “Songs of a Lost World” is lush and deeply orchestral, swelling and powerful, with often several minutes of instruments jamming before any singing.
There are melancholic and mournful lyrics that confront mortality and wonder where time went. “I’m outside in the dark/Wondering/How I got so old,” Smith sings in the last, sprawling, heartbreaking song.
“Songs of a Lost World” is, indeed, not of this world. None of the tunes are under four minutes and the last one saunters past 10. In an era when music is fashioned for microbursts on TikTok, Smith is disinterested. He lets songs take their time, unrushed and able to breath, the beauty of the melodies and instruments leading the way.
The first and last songs are in conversation, with the first stating “This is the end/Of every song we sing/Alone” and the final echoing the thought: “It’s all gone/Left alone with nothing/The end of every song.” There is a finality that fans will find distressful.
The album is The Cure's first since 2008's “4:13 Dream” — although Smith has been making music, including a terrific collaboration with CHVRCHES. Eight new songs doesn't sound like a lot, but they are all rich and satisfying.
One of the highlights is “I Can Never Say Goodbye,” in which a simple, insistent piano noodle is surrounded by fluttering guitar work as Smith comes to terms with his brother's death. The band also goes cinematic with “And Nothing Is Forever,” which has an Aaron Copland bright orchestral vibe, while “Warsong” is a dissonant, spikey downer that concludes “we are born to war.”
“All I Ever Am” is built on some interesting drumming, plinky piano and fuzzy guitars, a bright wave of music with Smith's customary gloomy lyrics: “All I ever am/Is somehow never quite/All I am now.” It is classic The Cure and yet thrillingly not.
We are in an era of ‘80s bands reemerging like cicadas — Tears for Fears, Crowded House, the The, Pet Shop Boys, Duran Duran, among them — but “Songs of a Lost World” is no attempt to recapture “Friday I’m In Love” or “In Between Days.” It is a huge step forward. It is The Cure’s best album since “Disintegration.” Hopefully, there will be more.
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This album cover image released by Fiction/Capitol Records shows "Songs of a Lost World" by The Cure. (Fiction/Capitol Records via AP)