Okay, so, apparently it’s been a hot minute since I last wrote a proper music review. Last time was all the way back in August 2022, when I reviewed Dance Gavin Dance’s Jackpot Juicer. My review of that one hasn’t aged well, I’d say, with my opinion of that album having greatly improved since it first dropped two years ago. Point being, though, that I think I’m overdue for a nice little music review. Thankfully, the boys in ERRA are here to provide.
Anyone who knows me well knows I love ERRA. I’ve been utterly enamored by their work since 2018, thanks to their consistent, creative sound and their ingenious precision and care for their craft. Just go take a look at my review of their self-titled album, ERRA (my opinion of which hasn’t changed much since I wrote that blog; I still think it’s a masterpiece). Looking now to their latest effort, Cure, which released on Friday, April 12, we find the band taking a bold new direction, one that I think works for the most part.
Honestly, as a follow-up to their self-titled album, Cure struck me as a bit of an oddball. I mean, I knew it would be tough to top a metalcore masterpiece like ERRA, but I had total faith these guys would still put out something great. That said, the sixth studio album from the team of Jesse Cash (guitar and vocals), JT Cavey (vocals), Conor Hesse (bass), Clint Tustin (guitar), and Alex Ballew (drums) isn’t exactly what I expected. In a word, this record is different.
Whereas the self-titled album juggled several different sound profiles held together by a throughline of lyrical resonance and instrumental depth, Cure sticks somewhat firmly to its lane, presenting darker, moodier, and punchier sounds that play into some fairly mature themes. On a macro level, this record strikes me as the band’s most tonally consistent work since Drift in 2016. It’s also confusing at times, because while Cure touches on some interesting topics, they’re not always presented in the most interesting manner.
The opening three songs serve as a strong introduction to the record, I’ll grant the band that much. The title track, “Cure,” is perhaps the band’s grooviest song to date, with a powerful, wavy chorus and a pulsating rhythm to keep listeners on their toes. “Rumor Of Light” is basically a Spiritbox song—which is a good thing—blending balanced instrumentals with a wonderful cadence between JT’s screams and Jesse’s angelic cleans. It also benefits from having the only real, old-fashioned, Jesse Cash guitar solo on the album. “Idle Wild” seems very much like a sleeper hit to me, as it plays with a simple yet aggressive progression that capitalizes on strong choruses and a soaring conclusion.
Moving right along, “Blue Reverie” sounds much like its namesake, allowing listeners to drift through a soothing soundscape of ethereal tones and harmonics, even when JT comes in with some well-placed screams toward the end. “Slow Sour Bleed,” in comparison, is a blast of raw, angry energy, playing with funky electronic beats and grungy guitar riffs that’ll leave you bopping and headbanging in no time. That said, I still think it’s the weakest track on the album.
The combination of “Wish” and “Glimpse” then arrives as a highlight of the record. I find the very middle of any ERRA album is where some of their most powerful songs originate from, and this is definitely the case with Cure. “Wish” serves as an easy, pleasant intro into the booming sounds of “Glimpse,” a song that offers a surprising mix of pace and resonance that may have otherwise been missing from some of the previous tracks. Both Jesse and JT deliver truly polished lyrical performances here. Were it not for track number 10, this one would probably be my favorite of the record.
Hot off the heels of “Glimpse” comes “Past Life Persona,” a tune that is utterly dripping with positive vibes. It is perhaps the most feel-good song from ERRA’s extensive discography, with a simple progression that still manages to hold your attention thanks to the emotional and perfectly paced lyrics. It’s another sleeper hit, for sure. “Crawl Backwards Out of Heaven” then jumps into the mix with even more aggressive energy, similar to “Slow Sour Bleed.” Although, I find the groove of this song to be much more enjoyable; there’s a stronger flow on display, as well as much harder hitting beats. It’ll be a fun one to hear live, that I can promise.
“End to Excess” currently stands as my favorite track from the album. It is probably the most emotionally immersive song Cure has to offer, with a lyrical impact and harmonic progression that are second to none. Hell, I know this song is good because I used its lyrics to inspire some of my own writing; I typically only do that with songs I absolutely love. I also think this one harkens back to the sounds of some of my other favorites ERRA tunes, like “The Hypnotist” and “Shadow Autonomous.” It’s a well-balanced piece that provides some crucial depth to the album as a whole.
Closing out Cure are “Pale Iris” and “Wave.” “Pale Iris” was the lead single to the album, and it’s a well-deserved honor. This one still holds up, showcasing much of what ERRA do best. That said, though, I can’t understand why it was placed in the number 11 slot; it should be the second song on the album. Maybe it was a creative choice, which is fine, but that doesn’t mean it won’t strike me as odd every time I listen through the album in full.
In any case, “Wave” serves as a brilliant conclusion, adding to the band’s list of perfect songs utilized to close out their records. This is a dynamic closer, utilizing its five-minute runtime to play with different, interesting sounds, from the blasting drum beats to the soft vocals at the very end. The album probably could’ve used more of this creative energy throughout, but even still, it’s great to have it here, as it further showcases the band’s refined skills and talents while also bringing the record to a largely satisfying end.
So, overall, Cure is a consistent, well-crafted package from a band that still can’t seem to write a bad song. It’s a curious collection of tunes, pushing the boundaries ERRA’s sound in many unique ways, but it also seems afraid at times of what the band has done in the past. It’s an understandable sentiment; artists rarely—if ever—want to repeat what’s already been done. However, there is a notable lack of truly riveting guitar solos and riffs, which are commonplace in every other ERRA album. And while there are certainly many lyrical gems present here, none of them quite reach the heights of the band’s previous work.
At the end of the day, though, I’m still just glad to have more ERRA to listen to. Even if this album isn’t my favorite from the band, it’s still a wonderful work of art, and I’m happy to have added a copy of it to my vinyl collection. Plus, there are some killer tracks here that I cannot wait to hear live. So yeah, Cure still gets my seal of approval, for whatever that’s worth. And if nothing else, it leaves me all the more curious to see what this incredible group of musicians will do next.