Unlike most other respectable Õ80s rock icons like Bono and Morrissey, Robert Smith has maintained a fabulously high level of creativity and aesthetic quality. Over the course of 20 or so albums, Smith has managed to avoid the pitfalls of egotism and self-parody, while fixing on what it means to write and record important, uncompromised music. Indeed, Bloodflowers, the band's first studio effort since 1996, is a satisfying, passionate, uncomplicated record that never overreaches, and almost always pays off an attentive listen.
The stage is set on the second track. "Watching Me Fall,Ó a color-streaked, 11-minute epic, has all the trademarks of a great Cure song, from a captivating lyrical motif to subtle build-up to lush climax, capped off by Smith's gripping guitar playing, one of the more overlooked reasons for the band's longtime success. Elsewhere, "Where The Birds Always Sing" resonates with Smith's richly echoing guitar chords and a sturdier-than-usual backbeat. As is his tendency, Smith allows the songs here to progress through several instrumental verses before interrupting vocally and the tactic works beautifully. It gives the listener a chance to understand the melodic core of each song before actually hearing Smith's lyrics.
The sound of Bloodflowers is wholly organic, with little electronic intervention or any other technical gadgetry. Newish drummer Jason Cooper hogs plenty of the spotlight during the band's longer instrumental passages on tunes like "39" and "Out Of This World," while Roger O'Donnell's keyboards take a slight, uncharacteristic backseat. The fact is, this is the biggest rock record the Cure has made in 10 years. And, in light of all the dross that passes for "rock" these days, itÕs a mighty welcome one.
All recordings written by R. Smith, S. Gallup, R. O'Donnell, P. Bamonte, J. Cooper, courtesy of Elektra Records and Fiction Song, Inc., administered by BMG Songs, Inc. (ASCAP).
