Halliday and Garcia were introduced to each other by Dave Stewart of Eurythmics. Dean Garcia had played bass guitar as part of Eurythmics' live band in 1983–84 and on two of their studio albums, Touch and Be Yourself Tonight. Toni Halliday was signed to Stewart's Anxious Records label as a solo artist. She also sang with The Uncles and Bonk in the early 1980s.
Toni Halliday and Dean Garcia briefly formed the unsuccessful group State of Play in the late 1980s before parting ways. She attempted a solo career, releasing the album Hearts & Handshakes in 1989. The album was produced by Toni Halliday and Alan Moulder, who later got married. Alan Moulder also produced music for artists like Depeche Mode, Nine Inch Nails and My Bloody Valentine.
In 1991, Halliday reunited with Garcia to form Curve. Their alchemy the second time around created sonically charged music, setting heavy beats and Garcia's densely-layered guitar tracks and feedback against Halliday's airy vocalization of lyrics that frequently explore such topics as alienation, addiction and love on the wane. Curve released three acclaimed EPs throughout 1991 on Stewart's label Anxious Records: Blindfold EP, Frozen and Cherry. These EPs will be included on the compilation Pubic Fruit, issued a year later.
In 1992, Curve released their debut album Doppelgänger. The group also toured extensively during this period, with Halliday and Garcia being supported on stage by the additional guitarists Debbie Smith and Alex Mitchell, plus the drummer Steve Monti. Songs such as "Horror Head", "Coast Is Clear" and "Faît Accompli" brought them critical acclaim and built a solid fanbase for the group.
Their sophomore studio album, Cuckoo, was issued in 1993. The album was a musically more varied but significantly darker release than their debut. On their first two albums, Curve worked with producer Flood (U2, Smashing Pumpkins). Also in 1993, it saw the light of the day the live compilation Radio Sessions.
After nearly a decade and a half of partnership the band split in 1994. During their hiatus, Halliday formed the band Scylla. Their track "Helen's Face" was featured on the Showgirls soundtrack. Garcia began a solo project under the name Headcase.
Toni Halliday also collaborated with other artists, most notably with Leftfield on the track "Original", with Recoil on two songs, "Edge to Life" and "Bloodline" from Bloodline, with The Future Sound of London on the song "Cerebral", with Paul van Dyk on "Words (Curved Headcase Mix)" and with DJ? Acucrack on the song “So To Speak”.
In 1996, the single "Pink Girl With the Blues", marked Curve's official return, followed by the EP Chinese Burn. In 1997, the band released their fourth studio album Come Clean. Curve also contributed the track "Nowhere" to Greg Araki's movie of the same name. Halliday married producer Alan Moulder.
In 2001, the band released on the internet the compilation Open Day at the Hate Fest. This album contained music recorded by Curve since their reformation in 1996. In the same year, the band released the critically acclaimed album Gift. The single "Hell Above Water" has gained the highest public profile as a result of its use in trailers for the 2002 film Spider-Man and the 2008 film Iron Man.
Their final album was 2002's The New Adventures of Curve, released only over the internet. In 2004 The Way of Curve, a best-of compilation was released, featuring their most popular songs and singles, as well as rare B-sides and fan favorites. Halliday announced on their official web site in early 2005 that the group split again.
After the split, Toni Halliday started a solo project entitled Chatelaine and released the album Take a Line For a Walk in 2010.
Dean Garcia founded SPC ECO in 2007 with his daughter Rose Berlin on lead vocals, and guitarist Joey Levenson; and welcomed the addition of guitarist Perry Pelonero in 2011. Garcia is also currently a member of the bands The Black Holes (with Jo Neale; 2007-present), The Chronologic (2006-present), Inkraktare (with Mark Wallbridge aka Vasko The Pig; 2009-present), The Secret Meeting (with kaRIN and Statik of Collide; 2007-present), KGC (with Sascha Konietzko and Lucia Cifarelli of KMFDM; 2006-present) and Morpheme (with Perry Pelonero and Kim Welsh of Bliss.City.East, Skylight and Clenched Fist; 2010-present).
In 2011, SPC ECO released the Big Fat World EP; and the album You Tell Me which includes a track titled Let It Out -- an updated version of Curve's Something Familiar from the album Come Clean. Morpheme released their debut single INFECTION // SINGLE and the RED DOG EP; and Garcia released a solo album entitled How Do You Feel ?, with special guests Mark Wallbridge, Todd Astromass and Jeff Beck.
Official sites:
http://curve.co.uk
http://curve.bandcamp.com
http://on.fb.me/CurveOfficialManagedByDean
2. Starting in the early 2000's, Japanese curve was a two piece for much of their existence, only gaining a third member with their most recent album. They've also had quite a bit of exposure throughout the world, touring through Malysia/Singapore and appearing on a split in the USA.
Official Site
http://www.curve-official.com/
Horror Head
Curve Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I can see what they sing
But you are away
You always smile
Boxing ring
The back of mules
You can really see, from the inside
There's a horror in my head
When the blanket is gone
From the floor in my castle
Where I see the sun from
There's a horror in my head
When the blanket is gone
From the floor in my castle
Where I see the sun from
In the comfort of this room
The challenge died
Remember you and me
We laughed 'til we cried
The lyrics to Curve's song "Horror Head" create an eerie and unsettling atmosphere that reflects the title of the song. The opening lines "Fireworks, blue and green, I can see what they sing" portray a sinister and hallucinatory state of mind. The singer seems to be experiencing a disorienting visual and auditory overload. The line, "But you are away, you always smile" conveys a sense of loneliness and isolation. The singer is physically present but emotionally disconnected from their surroundings.
The second verse, "Across the room, there's a horror in my head, when the blanket is gone from the floor in my castle", suggests that the singer is trapped in a dark and twisted mental space. The image of the blanket on the floor implies a state of disorder and chaos. The singer feels like they're trapped in a cold and forbidding castle with no way out. The singer's reference to "where I see the sun from" suggests a desire to escape or find a source of light in the darkness.
The chorus repeats the line "there's a horror in my head" adding to the sense of dread and unease. The final verse provides a brief moment of comfort with "In the comfort of this room, the challenge died, remember you and me, we laughed 'til we cried" suggesting that the singer remembers a happier time and longs to return to it.
Line by Line Meaning
Fireworks, blue and green
The singer sees vibrant colors like fireworks, but is unable to fully appreciate them due to their emotional state.
I can see what they sing
Despite the singer's emotional turmoil, they are still able to sense a connection between the colors and the sounds around them.
But you are away
The singer is separated from someone they care about, and this distance is compounding their emotional distress.
You always smile
The person the artist is missing is someone who always projected a joyful, optimistic attitude.
Boxing ring
The artist is either picturing a physical fight or using the metaphor of a boxing ring to describe their internal struggles.
The back of mules
The singer may be feeling like they are being forced to carry a heavy burden, much like a beast of burden.
You can really see, from the inside
Despite outward appearances, the person the singer is referring to may be struggling internally as well, but hiding it from others.
Across the room
The artist is physically distant from the source of their emotional turmoil, but it still affects them.
There's a horror in my head
The emotional pain the artist is feeling is overwhelming, and possibly even traumatic.
When the blanket is gone
The artist is so consumed by their pain that even something as simple as a blanket being removed can trigger a visceral reaction.
From the floor in my castle
The singer may be projecting a sense of grandeur or wealth, but it is hollow and meaningless in the face of their emotional distress.
Where I see the sun from
The artist may be articulating their heightened emotional sensitivity, as even a minor change in their physical environment can have a significant impact on their mood.
In the comfort of this room
Despite the singer's emotional turmoil, they are safe and secure in their physical surroundings.
The challenge died
The singer's motivation to engage with the world may have been killed off by their emotional struggles.
Remember you and me
The singer may be reminiscing about a time when they were happy and carefree with someone they loved.
We laughed 'til we cried
The memories the artist is recalling were joyous and filled with laughter, a stark contrast to their current emotional state.
Lyrics © BMG Rights Management
Written by: DEAN GARCIA, TONI HALLIDAY
Lyrics Licensed & Provided by LyricFind
@adrianloewen9962
Still a benchmark in alternative music that's yet to be rivalled to this day
@vatoencabronado
I bought this album when it came out, and I remember when I went to pay, the clerk was the prototypical snooty too cool for school guy. He said hey, that's a great album, and I thought he was complimenting my taste, so I said thanks! And he said, why? you didn't write it... hahaha..
@BrokVoekler
And you've been salty about it for more than 15 years.
@bmmac6797
@@BrokVoekler u the salty one lol
@BrokVoekler
@@bmmac6797 no u
@FirstnameLastname-mo6pu
Rent free
@michellebadillo7574
Lmao
@PrepTopia1
The breath at the beginning of this song, people.
Man, I was 17 when this album came out and was convinced that this ethereal sound was the end of music.
And I was absolutely right. Still holds up beautifully after almost three decades!
@flyzeyefab
After so many years, Curve still cuts right into my spine with those angelic vocals in the best possible way! So under-rated!!!!
@iangpark
The contrast of her delicate, sentimental, final vocals over the crescendo of the instruments is just heavenly. I hold back tears every time I hear this song.