★ “…把人們絕望、結(jié)束的感覺全然描繪,深沉而有力的作品于此顯現(xiàn)！”~美國娛樂周刊A-佳評
★ “Maybe Someday”挺進(jìn)現(xiàn)代搖滾榜第12名
全球超過2700萬張銷售、全球超過100場現(xiàn)場演唱,英國經(jīng)典不朽的另類搖滾旅The Cure靈魂人物主唱兼吉他手Robert Smith再度貝斯手Simon Gallup、吉他手Roger O’Donnell、鼓手Jason Cooper于2000年推出最新力作【Bloodflowers】,帶著一貫縈迴繞樑的哥德式搖滾颯然而至,華麗中帶有深刻抑鬱氛圍的音樂曲風(fēng),是怪人合唱團(tuán)得已在瞬息萬變的搖滾樂壇屹立20個(gè)年頭的魅力所在！ 曾為“X檔案”、“南方公園(電影版)”演唱電影歌曲、曾受變色龍大衛(wèi)鮑伊之邀在他50歲大壽的“紐約麥迪遜廣場生日演唱會”上擔(dān)任佳賓、在英美的多場演唱會由于過于精彩曾發(fā)行錄影帶饕饗眾樂迷,The Cure激進(jìn)得恰如其分的中版搖滾、電子音樂先鋒之一和特出造型,著實(shí)令搖滾樂迷風(fēng)迷不已。 自’76年軍、團(tuán)員經(jīng)歷幾番代換,最終在千禧年春天發(fā)行的第13張完全錄音專輯-【Bloodflower】。靈魂人物羅伯特表示：“..這是創(chuàng)團(tuán)以來最具成熟色澤的創(chuàng)作！在’82年發(fā)行‘Pornograghy’時(shí)就有【Bloodflower】最初的創(chuàng)作想法,’89年‘Disintegration’專輯廣受英美2地歡迎時(shí),我們持續(xù)地為這張專輯有著不斷的創(chuàng)作思維注入,而現(xiàn)在,它們就在這兒！”,團(tuán)員們對音樂的敏感度是此輯最令人深刻感動(dòng)的所在,貝斯/鼓/吉他音色和電音旋律所營造出的陰霾沉鬱,已為主唱鋪陳出一股漫天絕望的感染力…,繼’92年“High”、“Friday I’m In Love”2曲分別闖下Billboard現(xiàn)代搖滾榜4週冠軍、’93年的“Purple Haze”穩(wěn)坐現(xiàn)代搖滾榜雙週冠軍后,新輯中的“Maybe Someday”迅速挺進(jìn)現(xiàn)代搖滾榜第12名,后勁看好中！
The Cure edged into new territory with Wild Mood Swings, but nevertheless drew scorn from certain quarters because it eschewed goth rock for pop, both pure and twisted. For 2000's Bloodflowers, Robert Smith decided to give the people what they wanted: a classic Cure album, billed as the third part of a trilogy begun with Pornography and continued with Disintegration. That turns out to be more or less true, since Bloodflowers boasts all of the Cure's signatures: stately tempos, languid melodies, spacious arrangements, cavernous echoes, morose lyrics, keening vocals, long running times. If that's all you're looking for, Bloodflowers delivers in spades. If you want something transcendent, you're out of luck, since the album falls short of the mark, largely because it sounds too self-conscious. As one song segues into the next, it feels like Smith is striving to make a classic Cure record, putting all the sounds in place before he constructs the actual songs. That makes for a good listening experience, especially for fans of Disintegration, but it never catches hold the way that record did, for two simple reasons: th"/>
專輯簡介：
★ “全英音樂獎(jiǎng)最佳團(tuán)體”千禧鉅獻(xiàn)
★ “…把人們絕望、結(jié)束的感覺全然描繪,深沉而有力的作品于此顯現(xiàn)！”~美國娛樂周刊A-佳評
★ “Maybe Someday更多>
★ “全英音樂獎(jiǎng)最佳團(tuán)體”千禧鉅獻(xiàn)
★ “…把人們絕望、結(jié)束的感覺全然描繪,深沉而有力的作品于此顯現(xiàn)！”~美國娛樂周刊A-佳評
★ “Maybe Someday”挺進(jìn)現(xiàn)代搖滾榜第12名
全球超過2700萬張銷售、全球超過100場現(xiàn)場演唱,英國經(jīng)典不朽的另類搖滾旅The Cure靈魂人物主唱兼吉他手Robert Smith再度貝斯手Simon Gallup、吉他手Roger O’Donnell、鼓手Jason Cooper于2000年推出最新力作【Bloodflowers】,帶著一貫縈迴繞樑的哥德式搖滾颯然而至,華麗中帶有深刻抑鬱氛圍的音樂曲風(fēng),是怪人合唱團(tuán)得已在瞬息萬變的搖滾樂壇屹立20個(gè)年頭的魅力所在！ 曾為“X檔案”、“南方公園(電影版)”演唱電影歌曲、曾受變色龍大衛(wèi)鮑伊之邀在他50歲大壽的“紐約麥迪遜廣場生日演唱會”上擔(dān)任佳賓、在英美的多場演唱會由于過于精彩曾發(fā)行錄影帶饕饗眾樂迷,The Cure激進(jìn)得恰如其分的中版搖滾、電子音樂先鋒之一和特出造型,著實(shí)令搖滾樂迷風(fēng)迷不已。 自’76年軍、團(tuán)員經(jīng)歷幾番代換,最終在千禧年春天發(fā)行的第13張完全錄音專輯-【Bloodflower】。靈魂人物羅伯特表示：“..這是創(chuàng)團(tuán)以來最具成熟色澤的創(chuàng)作！在’82年發(fā)行‘Pornograghy’時(shí)就有【Bloodflower】最初的創(chuàng)作想法,’89年‘Disintegration’專輯廣受英美2地歡迎時(shí),我們持續(xù)地為這張專輯有著不斷的創(chuàng)作思維注入,而現(xiàn)在,它們就在這兒！”,團(tuán)員們對音樂的敏感度是此輯最令人深刻感動(dòng)的所在,貝斯/鼓/吉他音色和電音旋律所營造出的陰霾沉鬱,已為主唱鋪陳出一股漫天絕望的感染力…,繼’92年“High”、“Friday I’m In Love”2曲分別闖下Billboard現(xiàn)代搖滾榜4週冠軍、’93年的“Purple Haze”穩(wěn)坐現(xiàn)代搖滾榜雙週冠軍后,新輯中的“Maybe Someday”迅速挺進(jìn)現(xiàn)代搖滾榜第12名,后勁看好中！
The Cure edged into new territory with Wild Mood Swings, but nevertheless drew scorn from certain quarters because it eschewed goth rock for pop, both pure and twisted. For 2000's Bloodflowers, Robert Smith decided to give the people what they wanted: a classic Cure album, billed as the third part of a trilogy begun with Pornography and continued with Disintegration. That turns out to be more or less true, since Bloodflowers boasts all of the Cure's signatures: stately tempos, languid melodies, spacious arrangements, cavernous echoes, morose lyrics, keening vocals, long running times. If that's all you're looking for, Bloodflowers delivers in spades. If you want something transcendent, you're out of luck, since the album falls short of the mark, largely because it sounds too self-conscious. As one song segues into the next, it feels like Smith is striving to make a classic Cure record, putting all the sounds in place before he constructs the actual songs. That makes for a good listening experience, especially for fans of Disintegration, but it never catches hold the way that record did, for two simple reasons: th
