Seventeen Seconds

It's hard to believe that the Cure could release an album even more sparse than Three Imaginary Boys, but here's the proof. The lineup change that saw funkstery bassist Michael Dempsey squeezed out in favor of the more specific playing of (eventually the longest serving member outside Robert Smith) Simon Gallup, and the addition of keyboardist Mathieu Hartley resulted in the band becoming more rigid in sound, and more disciplined in attitude. While it is not the study in loss that Faith would become, or the descent into madness of Pornography, it is a perfect precursor to those collections. In a sense, Seventeen Seconds is the beginning of a trilogy of sorts, the emptiness that leads to the questioning and eventual madness of the subsequent work. Mostly forgotten outside of the unforgettable single "A Forest," Seventeen Seconds is an even, subtle work that grows on the listener over time. Sure, the Cure did better work, but for a new lineup and a newfound sense of independence, Robert Smith already shows that he knows what he's doing. From short instrumental pieces to robotic pop, Seventeen Seconds is where the Cure shed all the outside input and became their own band.

他们在70年代末80年代初华丽但又冰冷的空气中撰写着忧郁但并不阴冷的歌。你定义不了他们准确来说属于College Rock、Post-Punk还是Gothic Rock，最后的成功让这些都无必要了，他们或许代表了那个纷繁复杂而又坍塌颓废的时代里最真诚的一种美学。

主唱的声音被挤扁后通过各种媒介到达你的耳朵，背景中不断loop的旋律和稳定的鼓声成为一个冗长的梦。如果有什么是可以抗击忧郁的，那对喜欢cure的人来说，或许就是忧郁本身，它深邃、宽广，装得下所有的希望。

1980年第二张录音室专辑 专辑时长:35:40 销量:100,000[SNEP] AllMusic:3/5 Blender:3/5 Encyclopedia of Popular Music:4/5 Entertainment Weekly:B Mojo:3/5 Pitchfork:7.5/10 Rolling Stone:4/5 Sounds:4.5/5 Uncut:4/5

这张有一点小分队的气质啊

有什么会是我从小爱到老的，我想The Cure应该算一个。

不过以封面来看，有可能是相机使用了长曝光功能，然后用17秒的曝光时间获得的影像

学车的时候每天都听这专

和pornography比起来，这张只能算是一场噩梦