Every band that has ever depicted failed love and self-loathing as a constant theme owes its livelihoods to Robert Smith, the famously anguished, moping, eyeliner-wearing lead singer of The Cure, who single-handedly revolutionized the emo scene.

On 4:13 Dream, The Cure’s first album in four years, the band abandons the electronic drum and synthesizer sound that was ubiquitous during their prime in the 1980s. Instead, The Cure manages to fuse this with a sound akin to that of U2 through wailing guitars that sound as though the record was recorded in a cathedral, pounding drums and an overall sound one could easily imagine filling stadiums.

This new sound is a drastic but welcome change, but die-hard Cure fans need not worry, as Smith’s famed lyrics of suicide, loathing and love gone sour are present on virtually every song. Smith’s voice has changed very little despite the passage of years.

The pounding, reverberating, two-and-a-half-minute instrumental opening of “Underneath The Stars” actually works. It was a risky move that definitely paid off. Once Smith’s vocals come in, they sound so processed and soaked in reverb you can barely understand a word he is singing, which may explain why this is the high point of the album.

There is no denying that 4:13 Dream has moments that are darn near magical. The chorus of “The Perfect Boy” has a much needed uplifting melody in an album chock full of melancholy. The Red Hot Chili Peppers-eqsue vibe from the guitars of “The Only One” is surprisingly pleasant.

Yes, one must give credit where credit is due for experimenting with new and more contemporary sounds.

However, it is Smith’s vocals that feel uncomfortably out of place. He still has maintained that signature warble and wail in which you’re not sure if he is singing or just speaking theatrically. Because of his unique method of singing, the result is a distinct lack of coherent melody on many songs. Add this to the endlessly reverberating guitar, and many tracks just end up sounding downright messy, leaving behind very few memorable qualities that would invoke a second listen. At points during “The Reason Why,” all that is distinguishable is the word “suicide.” It is actually quite fitting.

This late in their career, it is respectable to try new things, but with such mixed results as these, The Cure might better opt for a less drastic step. One also can’t help but think how ridiculous it seems to have the nearly 50-year-old Smith sing about themes better suited for today’s depressed teenager.