At Shrewsbury train station, there is a poster advertising The Cure’s new album, Songs of a Lost World. The confident, monochrome minimalism of the art is at odds with the rambling Victorian brickwork, yet there is a kind of sympathy there also.
At ten on a November morning, the station isn’t the most joyful of locations and so is a suitable home for a record praised for its wintery desolation. The poster helps here.
