Goth, reimagined, electronica, accumulation
Mixes of a Lost World, released June 13, 2025 via Fiction Records and Universal Music, is a sprawling remix album that reframes Songs of a Lost World through 24 remixes by a broad mix of electronic, ambient and experimental artists. What could have been a collection of edits becomes something more expansive — an open-ended reinterpretation of grief, space and emotional architecture.
According to Pitchfork, Smith was first inspired after receiving unsolicited remixes of “Alone” and “I Can Never Say Goodbye.” The versions were so powerful that he was moved to tears. Rather than release a small EP, he decided to extend the invitation broadly, resulting in each of the eight original tracks from Songs of a Lost World being remixed three times for a full-length release.
A deluxe edition includes eight additional remixes by artists like Chino Moreno, Mogwai and 65daysofstatic. All royalties from the album are being donated to War Child UK, with at least £1 from every physical and digital copy going toward the cause (via Universal Music Canada).
The remixers represent a global range of styles and backgrounds, allowing many listeners to become more engaged with each song that passes.
Four Tet’s take on “Alone” is one of the album’s most celebrated contributions. The producer slowly builds atmosphere before bringing in Robert Smith’s vocals over a subtle garage-inspired rhythm. The track balances glitch textures with an emotional throughline. Listeners will rejoice once the vocal hits later within the song, bringing back the intention and movement of the collection as a whole.
Paul Oakenfold flips “I Can Never Say Goodbye” into a widescreen, cinematic track laced with orchestral synths and dramatic tension. The remix carries the weight of a film score, amplifying the song’s original heartbreak with almost theatrical grandeur.
Âme transforms “A Fragile Thing” into a meditative deep house groove. Known for minimalist, analog production, the duo strips the original track down to its essential moods and rebuilds it for a dancefloor setting. According to Consequence of Sound, it’s one of the project’s most emotionally faithful reinterpretations.
Chino Moreno delivers a standout with his remix of “Warsong,” creating a pulsing, slow-burning version that feels both industrial and ethereal. Meera’s “All I Ever Am” rework pushes boundaries further, bringing in South Asian instrumentation, chopped vocals and unpredictable tempo shifts.
On the more experimental end, Mogwai’s remix of “Endsong” offers layers of distortion, long ambient stretches and explosive crescendos. As Far Out Magazine notes, the track is polarizing — either a masterpiece in atmosphere or an exhausting wall of sound.
Regardless of the diversity of contributors, the album maintains a surprising level of cohesion. Smith’s vocals anchor most tracks, and the core themes of mortality, memory and isolation remain intact. Each producer builds a new emotional frame around The Cure’s songwriting rather than simply grafting club beats onto existing material.
That said, the album is dense, over two hours of material that doesn’t always reward passive listening or audiences. Some tracks blur into each other, while others stand out with clarity and confidence.
Mixes of a Lost World isn’t a casual remix album or playlist filler. It’s for fans of The Cure or those invested in how legacy music can be reshaped through contemporary production. The album is both an experiment and a statement of the Cure’s unending influence on future music. Not every remix hits with the same impact, but as a collective album, it’s ambitious and fits the modern ideology of reinvention.
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