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It’s kind of a trick question: when your band sounds a little gloomy to begin with, how can your audience tell when you’re despondent?
Maybe that’s not fair. Maybe it’s possible that Bloodflowers, The Cure’s 2000 LP and, per Robert Smith, the end of a trilogy that began with Pornography and continued with Disintegration, is less a swan song and more of the meandering treatise you find when your prior formula’s brought great fame but there’s not much new left in the tank.
I, for one, actually enjoyed hearing The Cure in a bit of less popularly refracted light, but the average listener, expecting hits, won’t find as many here. Is this album a denouement in disguise? The end of a chapter? You make the call.
