Studio Brussel radio interview (Belgium)

 

Robert and Simon on Studio Brussel June 8th, 2003

Last night Studio Brussel aired an interview with Robert and Simon. Between the interview they played Lullaby
and 39 and afterwards 100 years.

RS: I've always really enjoyed myself when I come to Brussel. I think ... I know on a professional level the shows
that we've done in Brussels have always been really good. The audience is always really excited. And on a
personal level the nightlife in Brussels is always been to my taste and the beer is to my taste as well. I lived in
Brussels for 3 months in 1986, yeah, I don't know. I like it, I like it's geographical location(?). Well it's kinda like
it's central in Europa. It's nice to come over to Brussel and to do interviews with the European press, cause when
you're in the UK you don't really feel like you're in Europe.

RS: From the singing point of view the're difficult moments in all 3 records, but over all Pornography is the easiest
definately it's the most intense I found, but it's short, it's half the length of disintegration it's 40 minutes. I mean
it's gonna be easier, it was over before we starten, but within that there are 1 or 2 songs ... they're hard to get
them to work. Hanging Garden is a really really difficult song to play. We very rarely play it because... cause it
never sounds right. That was one I was worried about, Homesick was another, cause this line-up has never played
Homesick. And Last Dance we've never played. So it kinda concerned us how we would sound on that song, and a
couple of songs on Bloodflowers like There is no if... it's always touch and go entirely for me. Wheter the song
works or not depends on how I sing it. If I don't sing it right the songs just don't work and Bloofdlowers... the
singing is more important on the other 2 albums. Pornography realizing this kind of sonic attack and Disintegration
is like big swirls of noise. It's like you kinda get lost in it and sometimes even if I don't sing the right words or sing
at all, it wouldn't make any difference. I think we were really keen on making Bloodflowers as good as the other
two. I don't know, I could sense it. Pornography has gotten 20 years for people to get used to it and get
affectionate. Disintegration has had 10 years. In both casese they reatin an almost mythic status to Cure-fans.
Bloodflowers has only had couple of years. It could be seen as if we're ramming it down people's throat: 'This is
as good!'. But I honestly think that in 10 years time Bloodflowers will kinda of one of the albums, it would be
standing up. It will be seen transcent it's time which Disintegration has.

RS: I don't actually think we would always do an encore. I thought we would be too tired to do an encore But with
all the adrenaline we could have played another 3 hours.

SG: It's only when we went into production rehearsels that we did the whole album without being afraid (?).

RS: One proper run-trough of song after song so it was kinda a gamble, Brussels. It could have gone really really
wrong. But when....

SG: It went down well and we were sort of choosing to do an encore and we're quiet taking aback in some ways.

RS: It was kinda obvious I thought what we were gonna play. I thought we had to play Play for Today, we've
played A Forest, we did 3 songs from 17 Seconds, didn't we? It was like a release of tension at the end. I was just
remembering thinking it's like we've went back on and it was like 'oh we've done it!'. You know, it was a really
nice feeling. The crowd was incredible in Brussels. It was like ehm.. so many into the show from the beginning to
the end, it was totally different from the Berlin crowd. The Berlin crowd was much quieter. Technically a lot of
things went wrong in Brussels, like the projection fucked up and the sound wasn't physically good and things were
happening on stage that weren't supposed to happen and I couldn't hear certain things on stage. But I think we
were so determined to kinda get through it that it turned into a really memorable concert.

RS: We're not really that prone to reminisence as a band. I was thinking about it the other day, uit's not very
often that we think about what we did. We're kinda weird like that. I know like other people talking about 'what it
was like when we did'. I don't knwo, it really is just because we're still doing it. I think the time for reminisence is
when you stop. The're will come a time when I'll sit in a chair 'I remember the days', but the real truth is I don't
remember any of it, that's why we don't reminisence. So I haven't got a clue where I've been for the last 20 years.
I'll forget all about this in then next minute.

(Thanks ThORI13)
 

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