We don’t give them love.

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[5.00]

Jessica Doyle: It depends on how you feel about “Sowing the Seeds of Love.” If you disliked StSoL for being a bunch of potentially meaningful phrases strung together to no good end, a simulacrum of actual lament, you will dislike “I Love You But I’m Lost” on similar grounds. If you loved StSOL for its commitment to its bombast, then you’ll be sad that this song sounds a little more hesitant, a little mushier, Roland Orzabal’s voice only occasionally getting out of the background. I’m in the latter camp, with the added disadvantage of not particularly liking Coldplay.
[4]

Alfred Soto: What other title very much in character could Roland Orzabal and Curt Smith have come up with — “What to Do With This Crazy, Mixed-Up World?” I suppose the banal anthemism of Coldplay represents the Songs from the Big Chair and “Sowing the Seeds of Love” ethos taken to its natural conclusion, but I didn’t expect the vocals to be as boringly processed or the sampled chorus hook to put over the weltschmerz so unsurprisingly.
[3]

Nortey Dowuona: Thick and yet still slight. The bass is nondescript and chunky, the guitar is nearly indistinguishable from the flat echoes of brass, the drums are either flat and lopsided or slight and limping along, and the synths feel flat and dry. Roland Olazabal glides softly through it, almost like a ghost.
[6]

Edward Okulicz: You could tell me this was like, an Erasure cover of a Tears For Fears song and I’d believe you.
[5]

Ian Mathers: I guess between time and technology it was a little naive to think I’d definitely recognize the vocals. If anything the voice has gotten a bit Bowie-esque in places, and combined with the dense but no longer florid rush of the chorus, you get something that’s actually pretty easy to listen to but that, for better and worse, doesn’t sound much like classic Tears for Fears.
[6]

Scott Mildenhall: It’s not quite the heart-stopper that is “I wanted to be with you alone; and talk about the weather”, but “I love you but I’m lost” is another case of blunt emotion suffusing other, more elliptical lyrics with even more complication than they engender by themselves. Overall, the power is diminished, however, compared to the 80s hits. The retention of a good part of it is welcome, and better than some acts manage, but even the theft of La Roux’s theft of “Let’s Dance” doesn’t make the chorus quite as compelling as it seems to desire.
[6]