Well, I grew up, and Robert Smith grew up, and somewhere along the line we parted ways. Actually, I know precisely when it happened, after the mediocre single "Never Enough", and the empty remix album, "Mixed Up". Then came the uneven "Wish", which seemed to foreshadow the end of the band. "Wild Mood Swings" was the nail in the coffin. I don't mean to insult anyone who loves those albums. And I would take issue with anyone who claims that fans who don't like the newer work simply refuse to grow with the band. The Cure's work has always been maddeningly, wonderfully diverse, to the point that anyone who has loved them by definition expects them (Robert) to veer off in new and unexpected directions.

In fact, that's what makes The Cure great; from track to track and album to album, their sound is by turns aggressive and melancholy, whimsical and psychadelic. It gives you a portrait of Robert Smith's soul.

Quite simply, to me his soul has become a lot more boring. Almost all of the songs on this album are full of self-pity, regret over lost opportunities, and wallowing in celebrity excess. Over and over, he laments growing old and losing his "fire". Can this be the same artist who once penned a track entitled "I Want to be Old", which celebrated the inevitable infirmities of old age? Is it the same artist who one told an interviewer that he would be pushed out of a window on his birthday, well before he reached the age of "39"? Where is the playful, loving, or even vindictive Robert Smith? Instead of being torn between extremes as on previous outings, he seems to have fallen into an irreversible funk. At first I was sympathetic, until his colossal self-pity and self-indulgence blunted my sympathy. I hope he has access to Prozac.

Musically, "Bloodflowers" *is* a huge improvement over "Wild Mood Swings." But the synth washes and interesting guitar textures can't conceal what is at base a pretty bland effort. I do feel it's a much better album to retire on than "Mood Swings", and I hope that Smith stays true to his word and hangs up his axe. He has reason to be proud, with such an amazing back-catalogue. New listeners should check out "Kiss Me, Kiss Me, Kiss Me", and "Disintegration", and work backwards from there.


A solid return to form   February 16, 2000
 21 out of 26 found this review helpful

While many reviewers have compared this album to the Cure's classic '89 album "Disintegration" (which is, to my mind, the Cure's seminal work), I have a hard time understanding such comparisons. "Bloodflowers" is indeed a dark album -- but so is the majority of the Cure's work, save the awful "Wild Mood Swings" and some cuts from "Wish." The Cure's latest features most prominently layers and layers of harsh, ugly and highly intense guitar riffs. Sure, the classic cure melodic style is mixed in, but at least half of the songs on this disc are brutal, cutting tunes. (Watching me Fall; 39; Bloodflowers; Maybe Someday -- though this one mixes in a certain pop element as well). These tracks, to my mind, are quite reminiscent of the louder tracks from "Wish." They are also, save track 4, *very* effective. The remainder of the songs feature a blend of softer percussion with Robert's now-classic simple, emotional guitar melodies. Each one is really quite beautiful, with somber lyrics that have really touched me (particularly "The Loudest Sound" and "There is no if..") There is not a weak song on this album, save perhaps "Maybe Someday." The other eight are thickly layered, raw, and highly emotional. Personally, I would have liked to hear more keyboards on this disc; as it is, they are merely a background element (another factor distinguishing this album from "Disintegration," where lush keyboards abound). Ultimatley, a powerful return to form, with a raw edge that really gets beneath the skin.


Is The Cure Over The Hill?   February 16, 2000
 14 out of 15 found this review helpful

Not since "Disintegration" has a cure album affected me in such a deep way. Just when you might doubt he still has it, Robert Smith releases "Bloodflowers;" which is a little irony in itself as the song "39" is about that very doubt. There is something ineffable about The Cure, something that touches our souls. This album is very dark, and ponderously melancholic. To answer the question that many of you have been dying to know, does this album harken back to "Disintegration?" I can answer yes and no. It's dark and very similar to "Disintegration" but different. Robert is philosophical in songs like "Where Birds Always Sing" and is expressive of his feelings, in songs like "The Loudest Sound" and "There is No If," both songs are about the tragic nature of love and life and reminiscent of "Faith" and "Disintegration," but closer to "Disintegration." There are songs that are tragic, angry and sad like "Watching Me Fall" (where we find out that Robert can still hold a note. It reminds me of "Prayers for Rain") and "39." The theme is that we get old, and that nothing lasts forever. It is neither fair nor unfair, most poignantly demonstrated in "Bloodflowers," " The Last Day Of Summer," and "39" which also happens to be Robert's age--hard to believe, yes? I never thought I would see the day when my favorite rock artist would see 40. So is The Cure over the hill? Not, if they keep this up! I know I will be spending many rainy nights with this album. Like "Disintegration" I can't say I have a favorite song. It depends on my mood; one day it might be "The Loudest Sound," another "39" or maybe "Watching Me Fall." This album is profoundly sad, but finds sanctuary in all the gloom offering some hope and solace. One thing for sure is, we can all find hope in that The Cure has recaptured what we liked best about "Disintegration," but has given us something new with "Bloodflowers."