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4.7 out of 5 stars
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4.7 out of 5 stars
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on 15 September 2017
I have Faith in this Cure album very dark yet beautiful.
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on 21 August 2017
No comment
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on 28 August 2005
Memory, it is said is a terrible liar; it takes everything out of perspective and, if not kept in check, can convince one to make the most alarming assumptions. Don't' worry, there is a point to all this rambling and the point is that I knew I needed to own "Faith"; I knew I needed it for a number of reasons, because it was The Cure, because I had last heard it several years ago and, most importantly, because I had completely forgotten what the album was like. What I didn't realise; for these very reasons what an outstanding album it was and, indeed, still is!
It is to easy to refer to any album as a classic by definition of its age and durability; but the true definition of a classic album is one that may not appeal immediately, but improves each time it is heard. I am afraid the clouding of time caused me to relegate this album to my things to buy list for far too long - and the cost was mine. This is a superb album, because it is quintessentially one of The Cure's finest albums; it represents the transition from the stark brilliance of "Seventeen Seconds" to the even more imposing and sublimely dark Gothic masterwork that is "Pornography", as the Three Imaginary Boys stand alone once more.
I did myself a great disservice by not buying this album before, but the Delux Edition carries with it the wonderful chance to listen to rarities and unreleased tracks, including the most delightful Charlotte Sometimes (I met a girl called Charlotte "Sometimes" at a N-I-N gig in July - Hi, Charlotte), this song being a personal favourite of mine.
I do not believe it is possible to identify a single Cure album as being a "Classic" because they are all classics in their own right - and this album is no exception.And, as I have found, I enjoy it more each time I listen to it (quod erat demonstrandum).
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on 12 February 2015
One of the most breathtakingly beautiful albums of the twentieth century, make no mistake. I have always felt that it sits as the midway point of a trilogy, between "17 Seconds" before it, and "Pornography" immediately after, each exploring a segment of a descent into the bleakest parts of the human condition. As the 'bridging point' in that journey, it's exquisite sound evokes the texture of impossibly smooth silk, paired with brutality cold hard stone. The poetry of Smith's lyrics and the power of the music combine to instill an insight into an uncommonly profound sense of despair, somewhere far beyond indulgent melancholy. It's an incredibly personal piece of work which is somehow accessible to us all.

An extra insight into what lies deeper inside this album:
Some 30-odd years ago, after listening to the album a few thousand times, I took the uncharacteristic step of writing to Robert Smith to ask him "if you wrote this album from first hand experience, then how do you carry on? In what do you put your faith?". No reply. Years passed and I forgot I wrote that letter. Then, about three years later, I got a postcard from Japan, on it, a picture of John Wayne, who had recently died, as cowboy hero. I was baffled at first as it was signed 'Robert' and I know no one by that name personally. And the message seemed so disconnected, and almost threatening. Then the penny dropped! This was Robert Smith, then on tour with Sioxsie in Japan. An answer after all this time! Then it all made sense. In his reply he said simply "In death I suppose. Like this?" In my interpretation, a reference to 'Big' John Wayne and the fate of the hero, for what that was worth. We come into this world, and leave it, alone. In the space between life gives us occassional reminders and previews of that infinite isolation. Listening to this incredible album sets you down, lost and alone, in that singular place, when you truly have nothing left, but faith.
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on 6 August 2005
There are a finite number of similies for 'brilliant' and 'expresive', and I daresay they've all been used to describe this album by The Cure in some form or another. I'd almost forgotten how good they were until I heard this again; it's feel-good music. Perfect for falling asleep to, not because it's so dull it has a soporific effect, but because the music is so charmingly soothing it's difficult not to. It's layered and textured and achingly beautiful. And typically, I think it's much more about the music than the lyrics.
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on 28 June 2002
This is one of the best and most haunting albums I have ever listened to. The dark, almost hopeless lyrics blend with the fantastic melodies to provide an amazing collection of classic goth songs. Robert Smith's voice accompanied by the famous flanged guitar sound are unique. Neither before nor since have The Cure captured the magic and energy of this album.
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on 15 September 2000
Way back a few decades ago many of us aged hippies were spellbound by 'Seventeen Seconds' which launched The Cure into the hall of fame. I can never understand why 'Faith' (which followed 'Seventeen Seconds') was never raved about that much. Did anyone listen to the words, or submerge their souls into those rarely visited realms of ecstasy and oblivion?
A much quieter and more melancholy work than 'SS', it showed the spiritual depths of exceptional talent. The slow unveiling of 'All cats are grey', the plaintive reaching out of 'Other voices' and the relentless passion of 'Faith' serve to make us very aware of life's pains and sanctuaries.
To me, 'Faith' remains one of the most beautiful, haunting and spiritual messages of all time. And the Cure's untouchable masterpiece.
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on 30 December 2008
I cannot recommend Faith too highly; exitstential obliqueness, stark emotional terrains of bleak lyricism and poetic sketchings on the absurdity of the human condition. Quietly disturbing and infused with a subtle melancholy, the album evokes a cool still calm that is both soothing and contemplative.

Haunting, desolate soundscapes that evoke images of walking through a mist filled forest at midnight, of monolithic buildings and wispy, stick like figures, floating in a swirling fog. Faith is an album that will take you in and out of yourself.

Strange, beautiful, otherworldy music that stirs the imagination and awakens the soul.

Sublime and profound.
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on 1 December 2004
Let`s be clear from the start, "Faith" is not that accessible for the first time listener.
I`ts very,very, far from being at all "Jolly!" & could happily be played from start to finish,at any given wake!
Having said all that,It is still my favourite Cure album.
It has a more Orchestral feel than anything else they have done & truly flows, as each song blends the next.
Robert Smith is at his poetic best here,linking seemingly unrelated sentences into songs & offering subject matters that only he really understands, but we all can somehow relate to.
His lyrics paint pictures that are mostly tragic, but always beautiful.
This album was & is, perfect,"End of the party music"
No individual hit singles here,
But a beautiful offering as a whole.
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#1 HALL OF FAMEon 20 August 2006
'Faith' remains the most gruelling of Cure albums, recorded in the wake of family death, the climate following Ian Curtis' suicide and existential crisis in the life of Robert Smith, I think it's their bleakest moment. 'Faith' forms a trilogy alongside 1980's 'Seventeen Seconds' and 1982's 'Pornography'- this is a budget-price remastered edition of an album which got a two-disc deluxe reissue featuring out-takes and the 'Carnage Visors'soundtrack (which would ironically be cited by Red Hot Chili Peppers in relation to 'Californication'!!!). & anyone who has read Marc Almond's memoir 'A Tainted Life' will recall the scene in New York where Almond takes then legal MDMA to this album...

This was an album that fitted with the downbeat zeitgeist and the league of long-coated men who probably all now have paunches, have gone bald and work in offices like the one I toil in. 'Faith' is one of those downer albums from the time, only rivalled by Echo & the Bunnymen's 'Heaven Up Here' and New Order's unlistenable 'Movement' (an album that is unlistenable in part due to the events before, and partly due to the fact the material is largely poor). I suppose it's quite Joy Division-influenced, the humourless song-titles particularly: 'The Holy Hour', 'The Funeral Party', 'The Drowning Man'...

The band had slimmed to a trio - Smith, Gallup & Tolhurst - following the exit of M.Hartley, with producer Mike Hedges they advanced on the keyboard driven sound of the previous album, which was set against Gallup's hypnotic bass and Tolhurst's drumming that sounds like a drum machine. The roots of 1989's 'Disintegration' are most definitely found here...

Single 'Primary' was an odd one, catchy an anything and with a chiming bass-driven sound - it sounds like band very much alive and probably has more in common with the angry climes of 'Pornography.' It sticks out a bit on this album, just like 'Rhythm of Cruelty' did on Magazine's 'Secondhand Daylight' - the other more upbeat number 'Doubt' hasn't aged that well and could have been on 'Three Imaginary Boys.'

'The Holy Hour' drags the listener into the bleak place where Smith found himself, though 'Other Voices' is almost funky - if it wasn't for Smith's grim lyrics!!! 'All Cats are Grey' remains a fan's favourite and is gorgeous in a tragic way, you almost feel respite when 'The Funeral Party' begins - though that sounds like Suicide on valium!! The concluding pair of 'The Drowning Man' and the title track remain the ultimate low - the former is a repetative dirge capturing something bleak happening to Smith, while the latter is another sublime epic with horrifying lyrics that nod to Christ and children christened in blood. It's a bit gothic then...

'Faith' is a great album, but not one I'd play very often - if you did, I might worry. Who'd believe we were just a few years away from 'The Lovecats'????
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