March is now in the rearview, so let's get you abreast of new releases. This might help you, casual readers, with what you might have missed. I am not doing little blurbs on them, just linking the reviews. This helps me organize my lists for the end of the year by listing the album's genre. This does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my in-box that are not coming out til June, so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month, there is a wide variety from Sudge to pop to post-punk, so perhaps you will find your new favorite among them. Here are the Top 10 albums for March of 2026.
If there is any justice in the world, the 6th album from this Scottish band will find them getting the recognition they deserve. They have toured with the Cure multiple times, but also had some hardships in their daily lives, which led to their bass player and drummer being replaced with Arab Strap's drummer and Mogwai's bass player. Vocalist James Graham's distinct voice is centerstage, with guitarist Andy MacFarlane providing the needed backdrop. Graham's voice is as emotive and fluid as ever as he swings up into his falsetto on "Designed to Lose."
This record has a more rock n roll mix, with a rawer guitar tone and not as much space for the vocals to fill. It is much clsoer to their live sound. The vocal lines are as catchy as any of their work, which makes for an engaging listen. Their dynamics are always emotionally powerful; this album is no exception. No wonder Robert Smith loves they are always consistent. Robert Smith adds guitars to "Waiting for the Phone Call". There is more of an electronic pulse to this. It rocks out pretty hard for post-punk coming out of the chorus. I had to listen to "Ceiling Underground' three times to wrap my head around it for some reason. The vocals kind of fade, and it works off a similar formula as what they normally do, so not sure why there was a disconnect before it clicked, but it did. Think I just needed something more solid in mind before I commited an opinion to review. It's actually darker after closer listening.
Robert Smith plays synths on "Dead Flowers" which finds them heading into the Cure-like sounds. Since Smith plays on it, they can have all the similarities to the Cure they want, but James ' voice sets them apart as their own identity. He's singing something about 'water off a duck's back, ' and it works as he always puts his voice in the best places. There is a more 80s feel to the guitar tone of "Inhosptiable/ Hospital." It's a pretty catchy song depsite it's bleak nature. In fact, it's one of the album's best songs. Oddly upbeat considering the subject matter.
There are some cool guitar tones on "Chestwound to the Chest". The verses are more strummed, with James singing out with his urgent plea that marks their earlier work. It has a little more rock drive to it. Robert Smith plays a 6-string bass on " Back to Fourteen." Here, some of the lyrics become more entwined in mystery rather than the more introspective outbursts. James has said many of the lyrics deal with mental health struggles, so I can only guess this song is included in that. The last song finds the vocals opening the song at the back of the mix, and things slowly come more into focus. It's more experimental, but still possesses the urgency they are so adept at conveying. I will give this album a 10. In some ways, it is more experimental and raw, but it holds up well against their legacy. Drops March 26th.
In case you forgot this was coming out, Robert Smith is not the control freak he once was, as he is allowing 24 artists to remix the band's 2024 masterpiece. I am going to review this by breaking it down by song, and then just going over the different versions of each song.
"I Can Never Say Goodbye"
Paul Oakenfold's cinematic version is a fair description of what he does here, as the piano melody and Smith's vocal remain the heartbeat of this dramatic symphonic take.
Mental Overdrive is the moniker used by a long-running Norwegian techno DJ. The euro-techno beat keeps the song moving in a manner that is much more dancey than what Oakenfold did. Like most old-school techno, it takes on a bit of a drone.
Craven Faults, as expected from this British producer, there is a more ambient Krautrock feel to this take on the song. The melody is submerged in a wave of sound. The drone of this one is more lethargic than the previous take on the song. You gotta hand it to Smith, he makes sure almost every adjacent sub-genre of what the band does is represented here, this is a very slow burn at nine minutes. The vocals were eliminated, and instead we get subtle layers of synths and piano flushed against a deep pulse. You might need some weed for this one.
"Endsong"
I mean, is it really a remix album without Orbital on it? The song is given the kind of treatment you might expect from the Sevenoaks duo. After some build-up up it settles into a more electronic groove to give Smith's vocals the room they need. The guitar melody is given a trippier sound. The Cure is, to some extent, drug music, but this requires a higher dose.
Gregor Thresher, the German EDM DJ uses Smith's vocal as his guidepost, and strips things down so he can apply his own dance beat to the song, which is a much different approach than the previous version.
Another jarring contrast is where post-rockers Mogwai take the track. They take it to a darker, more obtuse place. They prefer the sound of their own guitars, and the original guitar melodies are memories that haunt the song, but it still feels like what the Cure would do. Robert Smith has called these guys his favorite band before, so this is not surprising. Another time to break out the bong. I am surprised they included Smith's vocals since vocals are not an element they normally put great weight in.
"Drone Nodrone"
Daniel Avery's remix finds the Bournemouth-based DJ not getting as sonic as expected and laying a more laid-back but still dance-minded beat under it. It allows the vocals to work with the same grooving cadence as the original while owing little to the original arrangement. It's still dark enough for goth fans. He does bring in the bass line as well, midway into the song.
German DJ Anja Schneider breaks from the post-punk DNA of the song to do her own thing, in more of a deconstruction. The vocal is the only thing that anchors it to the original version. The chorus is a great deal faster. It feels like this could have come from the late 90s.
JoyCut brings a more post-industrial dynamic to their version. While it is next to what Mogwait does as the second most experimental take so far, it feels true to the overall feel of what the Cure does. Less bassline-supported backbone and more atmosphere.
"All I Ever Am"
Norway's Meera takes the song in a dance-oriented direction that resembles the original so little that if it were not on this album, you would not have a clue there was anything to do with the Cure.
Pop producer Mura Masa gives Smith's vocals the room they need and turns them into something that could find a place on European radio. It almost feels like the Killers.
Post-rockers 65daysofstatic play it pretty safe and just give things a bigger dynamic sound.
"A Fragile Thing"
German duo Ame leaves Smith's vocals the centerpiece as they deconstruct the song down to a dance groove.
Iris-born DJ Sally C treats it more like it is a 90s Madonna song. But what plays in its favor is how she keeps the guitar in some of the layers to remind you they are a rock band.
You know tour mates the Twilight Sad are going to get it right when it comes to capturing what makes the song work, but still getting sonic with it.
"Nothing is Forever"
Danny Briotett and Rico Conning's remix feels like what DJs were doing in the late 90s in gay bars.
Collen Murphy also allows for the guitars to have the space they need, while the vocals are given a trippier treatment.
Trentmoller has a greater understanding of dark music, as the Danish musician reworks the mood into something that flirts with vvitch house and industrial, while staying true to the song. One of the best reworkings on this album, as it touches on so many aspects.
"Warsong"
Daybreakers' re-mix keeps things to a dance floor throb that does not capture the feel of the song as well as some of the other interpretations, but works off energy alone well enough
Tech-house DJ Omid 16b chills out a little more than the previous version and does not keep the tension boiling. The vocals are relegated to more of a color.
Deftones vocalist Chino kept his mouth shut when it came to approaching the song and just mixed Smith's vocals in a similar manner that he would approach his own.
"Alone"
Four Tet brings what you expect from their work to this song.
Chilean DJ Shanti Celeste brings some of her homeland vibes to the grooves of this one.
Ex- Easter Island does well enough wtih the song, not taking many chances
Overall I will give this one a 9.5, shows how much reach the Cure's influence has on music as a whole.
Before you are surrounded by depressing X-mas music every time you go out into public for the month to come we are going to wallow in this list of the top 10 break up songs. Many of these touch upon feelings that are as varied as those in the five stages of grief... denial, anger, bargaining, depression and acceptance.This roller coaster touches on varied genres ranging from pop to metal.
10-Planes Mistaken For Stars - "Clean Up Mean"
The newest song on the list off of the band's latest album "Prey". It's taking the number 10 spot since it has stood the test of time like some of the other songs.
9-Marvin Gaye- "Is That Enough"
From the cocaine fueled concept album "Here My Dear", Gaye used powder and pain to propel this opus. He stepped away from the Motown hit formula to pour his soul in these somewhat progressive songs in this concept album that tells the story of his divorce.
8-the Twilight Sad - " I Could Give You All That You Don't Want"
These guys opened for the Cure, who are not on this list, because most of their music is happy or sensuous to me. These guys however have the melancholy and longing down. This one moves towards acceptance.
7- Alice In Chains - "Sea of Sorrow"
There is more acceptance with a tinge of anger, much like real life the stages of grief bleed into one another.
6-Morrissey "I Am Hated For Loving"
For this I think for the sake of this list his solo career beats out the Smiths when it comes this brand of heart ache.
5- Taylor Swift - "I Almost Do"
I have alluded to my love for Tay Tay, bu think it is the first time her music has graced this blog. The lyrics and melodies are pretty moving and relate-able. For pop music these days it's the best it gets.
4- Chevelle- " I Get It "
While the lyrical metaphor is thick here, the sentiment fits, with sarcastic anger to serve as a proper middle finger to vent the anger stage of grief.
3- Type O Negative- "In Praise of Bacchus"
These guys have a few, but Peter Steele's lonely drinking song takes the despair out on the streets of Brooklyn in ponderous reflection. It examines the complexities of heart break in the lonely city.
2-Chelsea Wolfe- "Mistake in Parting"
The title track from her first album that has a more grunge tinged conventional rock sound. No ghostly vocals here, lyrically the honesty in this one might be here best work despite not being hidden in the shadows of metaphor she is now known for.
1-Megadeth- "In My Darkest Hour"
This is a classic that has stuck with me even when I began hating Dave Mustaine for becoming a christian and sucking at pretty much life, with making shitty music his worst offense. Here it's dramatic, even putting suicide on the table, but isn't that where metal should go? His darkest moments here seem believable.
Last Night it was my wife's first time seeing the Cure and my 5th. They played a shed called Lakewood Ampitheater in Atlanta. Remind me to never go see an out side concert in Atlanta again during July or August. Since the Cure is one of my favorite bands, when I say favorite bands I don't mean some one I'm really into at the moment, I mean I have been listening to them for 26 years, so we have a life time relationship, built on their music providing a sound track to my life. So it takes some one of their magnitude to drag me out to one of these things. I'm not a fan of big shows, used to enjoy them more, but my growing disdain for other humans is brought out when attending one almost to the point of being a distraction. We got to the venue shortly after doors were opened. Were sitting in reserved seats on the floor, where we waited for the Twilight Sad. I reviewed their album yesterday, if you want to known more about this Scottish band you can read about them
here...http://abysmalhymns.blogspot.com/2016/06/the-ghosts-of-2014-twilight-sads-nobody.html
I'll say this about them...the singers voice was strong, he was very energetic and into it, though my wife said he couldn't be any gayer, I think they began to win the crowd over by the time they left the stage, so good job guys, you are solid in my book. So we ran into the one friend I saw the whole night at the bathrooms. I saw Facebook posts, about people going to the show and afterwards, but saw no one else there I knew. Which is weird for me. So the Cure went on by 8: 10 so it was light outside for the first hour of their set. The wandered on stage, Robert Smith came to the edge of the stage and stared. Aside from Smith the band was Gallop on bass, Jason Cooper on Drums , Roger O'Donnell from the Psychedlic Furs and Reeves Gabrels from David Bowie's band on lead guitar, who I did not recognize, He looked more like a bearded Bernie Sanders, so I assumed it was Porl Thompson. I have seen Gabrels several times with Bowie, so it really surprised me when I found this out after the fact. They opened with "Plain Song" which seemed off energetically. Gallop was playing notes that sounded like they should have been played on guitar so I am not sure what was backing tracks or not.
Things started to improve with each song Reeves didn't really seem to be into on "Pictures of You" and only appeared to be doing a bare minimum. Granted many of his parts were textural, when he ripped into a solo I was surprised as I thought "Wow, I never knew Porl could shred like that". Of course it makes sense now. Cooper's drumming began to impress me once they got to "Closedown". He has been with them ever since "Wild Mood Swings" so he has been on the kit every time I have seen the band, so aside from not being high and just mesmerized by Robert Smith, I suppose I was able to take the entire band in more objectivly. It did take use at least getting the song "High" for things to begin soaring to life. Here I noticed Smith was singing some of the songs in a lower key, as I couldn't sing along with them like I was singing along to the album. I've seen them play " A Night Like This Before'", but it's a great song, one of their more up beat songs that doesn't get under my skin. "Push" moved their performance up another notch and is where connection wise with the crowd things took a turn. At this point Robert had also commented how it was fucking hot, so for the rest of the show in an almost Spinal Tap like manner fans were set up around the drum risers.
It was a older crowd than I expected going into this, they were still fairly engaged when not on their phones for "In-Between Days" . "Last Dance" had a little more of a rock drive to it, which was fine by me is of the darker side that I prefer when it comes to the Cure. Of the post- 90's Cure songs "the End of the World" was pretty well recieved which was surpringing given the general age of the crowd, who obviously connected the most with songs that came later like "Just Like Heaven". Speaking of the hits "Love Song " was played a little more up tempo than the radio version. The moments I found the most engaging were when they seemed to jam out a little more. "Jupiter Crash" from "Wild Mood Swings" created a little bit of a lull and I would have sacraficed to have heard something off of "Pornography", "Want" from the same album proved to be a better choice. I am unsure if I had ever heard them play "From the Edge of a Deep Green Sea" it's live when I realize how much I really like "Wish". The musicianship from every member of the band was high lighted on this song.
"The Hungry Ghost" from the " 4 : 13" album is another one that I could have lived without, though the more modern era of the band I could stand to re-visit as there was some good stuff buried in there. The main set ended with "Prayers From Rain " and "Disintegration" both of which proved to be very powerful songs. The first encore brought the disco like shimmy of "Shake Dog Shake" which I heaven't heard them play before, but "the Top" is not my favorite album by them as I am not a fan of Andy Anderson's drumming, once again it gave Cooper a chance to put his own touch to the song. "Burn" is one of my favorite Cure songs, while it was good to hear them play it live it didn't have the punch I thought it should, but this was followed by "A Forest" , "Lullaby" and "Fascination Street". All three sounded great with "Fascination Street" almost bringing out the old goth dances from me. If our row wasn't crammed full with jack assess and I had more room it would have happened, as the heat generally had me miserable, so I focused on the music.
"Wrong Number" is a silly b-side, I had never heard them play. Not their best song by any means. The encores kept coming. The mutant funk of "the Walk" went over well. "Doing the Unstuck" began the procession of their more upbeat pop songs. The big one being "Friday I'm In Love" which in mind is tedious as it's the one song people bring up when it comes to the Cure, so it's like their "Iron man " or "Tom Sawyer" a song that defines them in the minds of some though it is not a clear indication was what they really sounds like. I was ok with "the Perfect Girl" and stayed around for it, though I told my wife if they play "Love Cats" or "Close to Me" then it's all over and they are not playing anything from "Pornography" so I would be ready to go. We left midway into "Hot, Hot, Hot" which I took as the signal there was no more of the gothy Cure to come, which was a good call on my part as we heard "Close to Me " on the way to the car and they ended with "Boys Don't Cry". I have no problem with the Cures silly pop song's since the bulk of their work is more melancholy and sonic, I just don't put the bulk of their radio fodder on my iPod. While I was glad we avoided "Love Cat's I wish they would have played at least one song from "Pornography">
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