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The Cure – Trilogy [VHS] Specifications

An ambitious yet practical idea, Trilogy underscores the tonal and lyrical connections between three of the Cure’s darkest albums in the last 20 years. The restless, ever-changing band, fronted by goth-gloomster Robert Smith, took up residence at the Tempodrom Berlin for a couple of nights in late 2002 for the express purpose of playing the group’s 1982 Pornography, 1989’s Disintegration, and 2000’s Bloodflowers live and in their entirety. Whether it was a good idea or not depends on one’s point of view. All three sets are long on droning, funereal rhythm sections, thick guitar lines that carry good pop melodies to overstylized destruction, and Smith’s own cracked, morose vocals. On the other hand, fine distinctions emerge: The Disintegration portion of the show is lightest on its feet, with lush orchestration on “Plainsong,” a hint of swing on “Lovesong,” and cinematic tendencies in the stirring “The Same Deep Water as You.” The rest of the concert is numbing. –Tom Keogh

The Cure – Trilogy [VHS] Overviews

Tape one Pornography Set Disintegration Set Tape two Bloodflowers Set Encore Set Encore Set: 01.If Only Tonight We Could Sleep 02.The Kiss Pornography Set: 01.One Hundred Years 02.A Short Term Effect 03.The Hanging Garden 04.Siamese Twins 05.The Figurehead 06.A Strange Day 07.Cold 08.Pornography Disintegration Set: 01.Plainsong 02.Pictures of You 03.Closedown 04.Lovesong 05.Last Dance 06.Lullaby 07.Fascination Street 08.Prayers For Rain 09.The Same Deep Water As You 10.Disintegration 11.Homesick 12.Untitled Bloodflowers Set: 01.Out of This World 02.Watchingc Me Fall 03.Where the Birds Always Sing 04.Maybe Someday 05.The Last Day of Summer 06.There Is No If… 07.The Loudest Sound 08.39 09.Bloodflowers

[if Robert Smith's brief interview in the bonus materials, oddly, gave me one of the most memorable moments from this show. Paraphrasing as best I can: "We loved the coldness of Berlin for these two concerts. I love a city like Barcelona, too, maybe if we do a show like this with the Kiss Me record," he says. "But these albums have some very cold songs on them, and they made us feel like a young band again. I mean, with this set list, we open with a fast, angry song, and that's something young bands do."

People love these records, of course, and it's easy to imagine The Cure responding to suggestions to play these shows...but I was curious why they would. Once you see the songs all laid end to end, played so intensely and deftly, though, it makes more than perfect sense. It's emotionally exhausting hearing all these tunes together in the familiar order from listening to the records. The stage production is beautiful, and the sound is great, but they definitely make an effort to keep you focused on the music they're playing. Nothing overly distracts from that, and the playing is really solid. They never take any big improvisational leaps, but the songs feel fresh and energetic throughout.

Most dramatic of all is probably the title track from Pornography. In the half dozen or so times I have watched the show, that's been the most arresting tune most often. Capturing so much of the complexity of angst and alienation in an instrumental is such a great moment in their catalog, anyway, but they play it so fiercely that it draws you in, while simultaneously reminding you of phase after phase of mood after mood that you just wish you could shake. But you know there's so much honesty and validity in the art of the tune, even though the vibe keeps telling you to stay away, that you don't want any part of what it feels like is happening. People make fun of the love/hate relationship some people seem to have with their own emotions, but it's hard to imagine those few minutes of Pornography not feeling like a universal experience to anyone who happens to come across them.

Even 20. 25 years later, this show still has the same effect on me that those early Cure records did--you finish listening to it, and you feel all wrung out and compelled to get up and do something, but you can't figure out what you're in the mood to go do. Maybe that's the power of good music, or good art of any kind--leaves you feeling raw and all jacked up, but you can't always tell why.]

Customer Review

Robert Smith’s brief interview in the bonus materials, oddly, gave me one of the most memorable moments from this show. Paraphrasing as best I can: “We loved the coldness of Berlin for these two concerts. I love a city like Barcelona, too, maybe if we do a show like this with the Kiss Me record,” he says. “But these albums have some very cold songs on them, and they made us feel like a young band again. I mean, with this set list, we open with a fast, angry song, and that’s something young bands do.”

People love these records, of course, and it’s easy to imagine The Cure responding to suggestions to play these shows…but I was curious why they would. Once you see the songs all laid end to end, played so intensely and deftly, though, it makes more than perfect sense. It’s emotionally exhausting hearing all these tunes together in the familiar order from listening to the records. The stage production is beautiful, and the sound is great, but they definitely make an effort to keep you focused on the music they’re playing. Nothing overly distracts from that, and the playing is really solid. They never take any big improvisational leaps, but the songs feel fresh and energetic throughout.

Most dramatic of all is probably the title track from Pornography. In the half dozen or so times I have watched the show, that’s been the most arresting tune most often. Capturing so much of the complexity of angst and alienation in an instrumental is such a great moment in their catalog, anyway, but they play it so fiercely that it draws you in, while simultaneously reminding you of phase after phase of mood after mood that you just wish you could shake. But you know there’s so much honesty and validity in the art of the tune, even though the vibe keeps telling you to stay away, that you don’t want any part of what it feels like is happening. People make fun of the love/hate relationship some people seem to have with their own emotions, but it’s hard to imagine those few minutes of Pornography not feeling like a universal experience to anyone who happens to come across them.

Even 20. 25 years later, this show still has the same effect on me that those early Cure records did–you finish listening to it, and you feel all wrung out and compelled to get up and do something, but you can’t figure out what you’re in the mood to go do. Maybe that’s the power of good music, or good art of any kind–leaves you feeling raw and all jacked up, but you can’t always tell why.

EXCELLENT! EXCELLENT!! EXCELLENT!!! – ksrp – New York
My review boils down to one word..SUPERB!!

One of the best – if not best – concert DVDs I’ve ever seen. They didn’t ruin it (as so many are) by putting in too many crowd shots, screaming fans or non-concert footage. The focus is where it should be – on the band. Sound quality is stellar as is the video. And the music…need I say more?

EXCELLENT!!! – Rebecca Lyn Becker –
I bought this concert footage for my fiance for Christmas and he was beyond THRILLED! We watched it Christmas night and the concert footage is amazing! The Blu-Ray format is so crystal clear in sound and picture that you cannot help but feel like you are in the front row for the concert! If you are a fan of The Cure, I highly recommend this concert, you’ll enjoy every minute of it!

A couple technical notes – Fireant3 – AZ
Been a Cure fan forever. This video’s pretty good, I have no qualms with the performance. Here are a couple of criticisms I can add to the mix though: The video quality is good but not great. HD is not always the same; I can see differences in broadcasts on cable and from other sources and the HD off this blu-ray is not the best I’ve ever seen. It almost looks kinda quasi-HD compared to some of my other BD’s played on the same equipment. Also, a note on the audio mix/equalization from a life-long musician– the bass guitar is not EQ’d right at all. Not enough low end, way too much mid. It’s not too bad though, you can always adjust for it.

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