Release Year: 2018
In 1990, The Cure wanted to take a break from the bleak nature of Disintegration. To shake off the melancholy, Robert Smith launched a new project: a remix album. Mixed Up not only featured club mixes of Cure songs, it was also a way for fans to get their hands extended mixes without hunting down pricy singles. This year, Smith finally relaunched The Cure’s remaster series and compiled a deluxe edition of this remix album. Surprisingly, I was excited to get my hands on the release despite not being a fan of the original. I wasn’t expecting much, but I actually enjoyed the release more than I expected, but it’s not perfect.
The first disc is a remaster of the 1990 original featuring extended singles and remixes of the band’s biggest hits. There are some solid mixes here like the airy and mellow version of “The Caterpillar” and the jazzy version of “Close To Me,” but most of the songs don’t hold your attention for long. It’s made with a specific audience in mind. If you’re not a fan of lengthy club mixes, like me, the album won’t do much for you. I found songs like “The Walk,” “Lovesong,” and “A Forest” to be too long. They got repetitive after the first four minutes. The drawn out songs make sense in a club setting, but they don’t really translate outside of that if remixes aren’t your thing. Most of the mixes are decent, aside from the generic “In Between Days (Shiver Mix),” but little about them leaves a lasting impact. I found myself getting bored with them and started tuning them out. The updated versions of “Lullaby” and “Fascination Street” are highlights, but the rest of the album is decent at best.
I was looking forward to the second disc featuring rare remixes from 1982- 1990, but these tracks are forgettable. Some of the mixes are random, disjointed, or all over the place. The vocal on “Let’s Go To Bed (Extended Mix 1982)” sounds like it was chopped up and sprinkled randomly throughout the song. It’s annoying to hear Smith’s vocals start and stop abruptly. “Why Can’t I Be You” feels endless with bits of the song stretched out and played on a loop, while “Primary (Red Mix 1990)” attempts to turn it into a high energy rock song with bits of weird buzzing noises, but it just doesn’t work. Mixes of “Pictures of You,” “Just One Kiss” and “Just Like Heaven” do nothing interesting expect make the intro and outro longer. Even though I’m not a fan of the original, the mixes on that album are at least decent and has its great moments. Here, all the remixes are uninteresting. They just don’t hit you the way some of the mixes on the previous and the last disc do.
The third disc, Torn Down, is full of new mixes by Smith and is the highlight of this collection. He takes a song from every Cure album and tweaks it just enough to give it a different flavor. “The Drowning Man” is bleaker and darker, “A Strange Day” is more intense with its tribal beats, “A Night Like This” is jazzy and upbeat, and “Three Imaginary Boys” is downright eerie. These mixes feel more focused and concise. They don’t keep going well after you’re bored. And in most cases not much changes. Smith admits he didn’t mess with the songs too much and kept the general feeling of the song. “Shake Dog Shake” sounds more aggressive and angry and “Never Enough” sounds like a clean mix, but otherwise they don’t stray far from the originals. Others may balk at the lack of change, but I found them to be perfect. It puts a different spin on the song and doesn’t feel needlessly long. Smith also goes beyond the singles and mixes tracks like “Cut Here,” “From the Edge of the Deep Green Sea,” and “The Last Day of Summer” for a more diverse listening experience. It’s great to hear new versions of tracks like “Want” and “Like Cockatoos.” It’s a chance to highlight The Cure’s material outside of their singles. Honestly, I wasn’t expecting much out of this disc, yet it’s my favorite out of the three.
Mixed Up Deluxe isn’t for everyone. It’s for a niche crowd that can appreciate a good club mix or for those into the club scene. If you don’t care for remixes or don’t like dance music, then you won’t find most of the collection appealing. Still, it’s a solid release. You have all of The Cure’s once rare mixes on one disc with extras and a disc full of new remixes. It’s worth it for the third disc alone. It doesn’t feel like it was put together to make a quick buck. Rather, you can tell it was crafted with some thought and it invigorated Smith to try some new versions. Also, there’s so much material to listen to, there’s bound to be one or two tracks you find yourself nodding along to. It’s not for all Cure fans, but it’s still a great addition to your collection.