I found this also, NME has already reviewed the album. They loved it:
NME reviews 'The Cure':
The Cure - The Cure (8/10)
If this really is the end for The Cure, then it's some way to go out.
The Cure have been together longer than most NME readers have been alive. Robert Smith, his hair, his lipstick, his band, his songs about claustrophobia, love, loneliness, love, huge spiders and love, they've always been there. Twenty-five years since their debut, the band's influence is all over the place, from Hot Hot Heat's fevered thrum to The Rapture's spectral dilation. But it's been close to 15 years since their last truly great album (the still stunning 'Disintegration'). Each new record comes with the veiled threat from Smith that he's about to pull the plug on this whole affair - seemingly much less veiled on this than many others. But he's been threatening that since 1982, so why worry? Because if this wilfully aggressive, powerfully dark record really is the final one, then it's a staggering way to go out. For the first time ever, Smith isn't in charge of production. Ross Robinson, who's worked with ********, Korn and At The Drive-In, drove the band to near-mutiny in his search for the ultimate performance. And it shows. No easy walk through a few moments and the odd glum one for the old skool, it is startling from the first listen. Opening with the brooding dirge of 'Lost', the band are heavier, more menacing, more rhythmic than ever. Smith recalls being "so happy and so young", but admits, "I got lost in someone else", perhaps his own myth. 'Labyrinth' barely lifts the mood, its deep blue psychedelic heart carrying Smith's tortured performance. "The day is done/The house is dark/It's not the same you", he cries, his voice rising to a scream. The Cure haven't sounded this malevolent since 'Pornography' and Robinson is intent on not allowing Smith's melodic side to throw easy pop bait over the side of his sleek, black destroyer. When the classic Cure moments come - and 'Taking Off', 'Before Three' and 'The End Of The World' are up there with the best - they're still focused on moving The Cure forward if, at the same time, Smith's lyrics are as unguarded and romantic as ever ("We were so in love/In the sea of gold", "Tonight I share with you/Tonight I'm so in love with you", "I'm trying to be the one for her/Trying to be I love"). Elsewhere, 'I Don't Know What's Going On' finds Smith scat-singing his way to a falsetto chorus that's so un-Cure it's like a tiny, pointed reinvention all of its own. 'Anniversary' has a Moroder-ish disco tint and an operatic chorus. 'Alt.end' rides a riff halfway between The Cure of 1980 and U2's 'New Year's Day' as Smith celebrates this "big, bright, beautiful world" while insisting, I want this to be the end/I want this to be the last thing we do", while 'Us Or Them' (a reaction to 9/11?) is the angriest Cure track since 'Shiver and Shake'. Smith has said of this record, "If you don't like this, you don't like us," and when you give your album the same name as your band, you need to be sure you can stand by every moment. They can, and they undoubtedly will. 'The Cure' is not an easy album to love. It's oppressive and relentless at times, it never, not once, lets you off the hook without a fight. But it shows a band on the verge of a whole new future. Whether they actually want it or not a lot less clear.
Rob Fitzpatrick
FIVE MUST-HAVE CURE ALBUMS... and one absolute stinker
'Disintegration' (1989) Definitive Cure. Dark, intense, miserable as a dead kitten. But also melodic, uplifting and defiant.
'Faith' (1981) The most depressing record ever made. And brilliant for it. 'The Funeral Party' is bleaker than hell.
'Seventeen Seconds' (1980) Drugs. Lots of them. Guitars get ditched for keyboards and amazing things happen.
'The Head On The Door' (1985) Brian Wilson, fucked on lager'n'shrooms and wearing a lunatic fright-wig, wouldn't have matched this pop masterpiece.
'Kiss Me Kiss Me Kiss Me' (1987) Very long, but full of magical, astonishing hit singles. 'Just Like Heaven' is most perfect thing you'll ever hear.
RUN AWAY 'The Top' (1984) 'The Caterpillar' was nice, but 'Bananafishbones' and 'Wailing Wall' are painful. Avoid.
(and all the others) 
