Itâ€šÃ„Ã´s been a while since anyone has heard anything new from one of the forerunners of the Indie Rock world, The Cure. When it was announced that Blood Brothers and Limp Bizkitâ€šÃ„Ã´s producer Ross Robinson was to also have his fingers in the first new Cure album in four years [aside from B sides and anthologies] the fans became apprehensive. To be truthful, nothing much has changed – other than a little extra hard rock cheesiness – but time. Robert Smith has always had that enviable rock star voice that has influenced so many singers like Matt Bellamy from Muse. It is clear, straight-toned with more character than most trained singers. In the newest album, The Cure, there is excessive distortion on Smithâ€šÃ„Ã´s voice. When he is able to be heard clearly, he teeters on the edge of the notes. In previous projects, this was a style choice and only used where it would work with the music. In this endeavor he coasts under the tone throughout the entire record. Unfortunately, none of the players seem to be able to reach and/or maintain their exact pitches. They sound old, as if the past 20 years has finally caught up with them.
The music itself is beautifully written and seems to fit right in with the rest of their repertoire. Any one of the songs could have been written for Wish. However, as a self-titled album, this is probably not the album fans would have characterized as the epitome or the embodiment of their sound. It is The Cure, but a slightly older, aged one, moderated by the influences of a Nu-Metal high-roller.