The Cure album that was recorded in a toilet: ‘They were dirty and grim’
During the early 1980s, The Cure were at a pivotal and tumultuous point in their career, both creatively and personally. The band was deep into its exploration of darker themes, a journey that would culminate in the release of their stark and harrowing fourth album, Pornography. This period is often regarded as the band’s most intense, marked by a profound sense of despair and existential dread that permeated their music and their lives.
This was the era when Robert Smith began wearing lipstick, spraying his hair, and painting his nails. Really, it was the advent of The Cure we know today. However, things weren’t all peachy on the other side. In fact, Smith admits that this was a rough time for the band as a whole. “During Pornography, the band was falling apart, because of the drinking and drugs,” he said. “I was pretty seriously strung out a lot of the time, so I’m not sure if my recollection is right.”
Along with the addiction issues, The Cure frontman was in a particularly dark place. He was struggling with depression, and the pressures of constant touring and recording only exacerbated his mental state. The band’s internal dynamics were also strained, with tensions mounting between the members. Smith has often described this period as one of self-destructive excess, with alcohol and drug use, of course, contributing to the chaotic and unstable environment.
Musically, The Cure in 1982 were pushing the boundaries of post-punk, creating a sound that was raw, atmospheric, and deeply emotional. As a result of their experimentation, the band even attempted to record their material in a number of different—albeit slightly disgusting—locations. “I know for a fact that we recorded some of the songs in the toilets to get a really horrible feeling because the toilets were dirty and grim,” Smith said. “Simon doesn’t remember any of that, but I have a photo of me sitting on a toilet, in my clothes, trying to patch up of some of the lyrics. It’s a tragic photo.”
While the idea of recording in the toilets might sound somewhat silly, for the band, it seemed to be anything but. Smith continued to say: “We immersed ourselves in the more sordid side of life, and it did have a very detrimental effect on everyone in the group. We got ahold of some very disturbing films and imagery to kind of put us in the mood. Afterwards, I thought, ‘Was it really worth it?’ We were only in our really early twenties, and it shocked us more than I realised – how base people could be, how evil people could be.”
The results that came out of it seemed to mirror this experience, too. Robert Smith admits: “I don’t have particularly fond memories of Pornography, but I think it’s one of the best things we’ve ever done, and it would have never got made if we hadn’t taken things to excess. People have often said, ‘Nothing you’ve done has had the same kind of intensity or passion.’ But I don’t think you can make too many albums like that, because you wouldn’t be alive.”
It takes a lot to admit that what’s “good” for art might not always be the best for mental health, but finding that balance can lead to more creativity in the future. In the broader context of The Cure’s discography, Pornography stands as a monument to artistic fearlessness. It’s not an easy listen, nor is it meant to be. Instead, it’s a powerful statement on the human condition, capturing the essence of despair in a way that few other songs have managed.
