Instead of following the direction that the band was clearly moving towards rather than from we get a series of weird overly-pop attempts like "Mint Car," which stylistically is more or less a lackluster followup to "Friday I'm in Love." It's a catchy melody, no doubt, but Smith tries so hard to be... I don't know, cute that it feels cheap. It's like David Lee Roth was trying to control Smith's mind, especially when he makes that smarmy little kiss noise.

Even when The Cure is lighthearted, they have an edge and an intensity. Call it a maniacal glee. Yet more than half the album sounds like the band was being forced to try to shotgun styles in order to churn out another Top 40 hit; in fact, they haven't done so since "Friday." "The 13th" sounds like a Dennis Wilson wrote it while on an opium binge, and "Strange Attraction" is completely forgettable.

Don't get me wrong. There are wonderful songs on Wild Mood Swings. "Bare" is one of my favorite tracks of all time from any band, and even for an act known for ending their albums in long, slow seven-minute breakdowns it stands out as a sincere and perfect composition.

For a while there, Robert Smith really wondered if The Cure was done, and Wild Mood Swings shows better than anything that an era was ending for him as a songwriter.

Luckily, he and Gallup found what was strong from the record and crafted what I consider to be their best work in Bloodflowers after a nice long rest. Wild Mood Swings was a letdown to people who loved Wish and a waste of time for people like me, who were hankering for the future.

Tune in tomorrow for more of the Five Most Disappointing Goth Albums.

Jef With One F is a recovering rock star taking it one day at a time. You can read about his adventures in The Bible Spelled Backwards or connect with him on Facebook.