New U2 Album

We’ve been waiting 5 years for the return of U2;during those 5 years many events have occurred. For one thing the heaviest snow in 18 years pelted the UK, the resurrection of pop group Take That, a new American president and what else? Ah yes – a global recession that has its mind set on collapsing the worlds markets. U2 have a lot of choices to choose from to set the theme for their new album (I doubt the recession will be on the top of their list...).

Their previous album How To Dismantle An Atomic Bomb was good and at times engaging, but a bit cheesy in comparison with other work. From Love and Peace or Else’s “Lay down, lay down your guns” to the ridiculous “I didn’t give anyone else a choice/ An intellectual tortoise” of All Because of You. Drummer Larry Mullen Junior demanded that “U2 must return to experimentation.” Good call.

So here we are with U2's 12th album, No Line On the Horizon – reportedly the album that brings back the Achtung Baby –esque experimentation and produced by longtime friends/collaborators/producers Brain Eno, Daniel Lanois and Steve Lillywhite. With the releases of young – guns The Killers, Coldplay and Kings of Leon, U2 have a lot of catching up to do.

First single Get On Your Boots is a good song when played within the album order but horrendous when released as a single. “Laughter is eternity if joy is real” is one of some lyrics that are at times humiliating at first glance but Mullen's break – down and a funky bassline from bassist Adam Clayton along with Bono’s repeated cry to “Let me in the sound” wants you to let him in (whatever the ‘sound’ is). This song showcases U2's ability to be both inventive and embarrassing at the same time. The riff however is modern and I don't remember hearing that many guitar riffs in this day and age. It seems though that even though this song is somewhat of a letdown, it has revitalised some aspects of rock 'n' roll and adding a futuristic component to it. But please Bono, don't try to be sexy by adding 'sexy' to your songs - it's just not you.

Before I go on, calling a song ‘magnificent’ piles huge amount of pressure on the song and artist. So when U2 called one of their songs Magnificent, I got my shotgun ready in case it completely falls flat. The song begins with a growling chain saw like sound before guitarist The Edge delivers his trademark echo sound to the song and traditional rhythms from Clayton and Mullen. Not quite happy. It’s ambient sound and synths gives it an edge but after repeated listens, the title masks U2’s ability to recycle tricks. Bang.

With the mediocre tracks out of the way I can get down into the dirt and dig for the gems. Album opener is the title track, with it’s Eno influenced ambience. But the standout feature is Bono’s voice. He screams, he weeps, he growls – something he hasn’t done since the The Joshua Tree. For once, an opener that challenges the listener unlike instant hit but near-throw-away-songs like Discotheque, Vertigo and Beautiful Day.

Unknown Caller was one of the tracks I’ve heard in the infamous Beach Clips Leak on Youtube. Despite the poor quality of those recordings, it was the song I anticipated the most. Now, it has become my favourite. With the melodic chants of Bono, Edge and producers Eno and Lanois, they bombard the listener with bizarre commands such as “Password, you, enter here” and “Cease to speak/That I may speak/Shush now!” which is reminiscent to Zooropa’s Numb. Horns and a raw and surprisingly long solo from The Edge end the song strongly.

Bono always had an odd relationship with pop music. Their 9th studio album (inappropriately) named Pop seemed like a dagger aimed at pop music before it’s successor All That You Can’t Leave Behind seemed to embrace it. Not to mention Bono’s secret desire to be the 6th member of Girls Aloud. Laughable title I’ll Go Crazy If I Don’t Go Crazy Tonight is certainly “the Beautiful Day of the album” as Bono described it. U2 fans may dislike it for including radio - friendly pop but you have to admit, U2 can’t be U2 without a bit of silliness? It’s chorus – no matter how much you may hate it – will linger in your head, forcing you to love it.

The last half of the album is where the true experimentation lies. Fez – Being Born is the most experimental, with the faint reprise of Get On Your Boots’ “Let me in the sound.” Mullen’s rattling drums give it a galloping rhythm while Eno’s influence completely takes hold of the U2 ship as haunting vocals hover in the ethereal air. Clayton’s bass swaps roles with Edge’s guitar as he drives the song further.

Slow-tempo duo White As Snow and Cedars of Lebanon leads U2 into meditation mode; coincidentally White As Snow has a Christmas feel to it and I was expecting a climatic explosion at the end but it turns it’s back on it and remains with it’s slow tempo. It ends with Cedars of Lebanon, where Bono is story-telling while Mullen lays down a clattering but minimum beat. “Choose you enemies carefully cos they will define you” advises Bono. Although the two songs may belong in the fillers category, there is something about them that makes it stand out. It doesn't hook you but doesn't make you want to hate it. I've been repeating these 2 songs more than the other songs and it is slowly taking me on a journey.

It’s not a massive leap in direction but more of a step forward into the right direction. Edge’s ringing guitar grasps itself in some of the songs but gradually becomes less used as the album progresses; he uses a lot of swaggering Led Zepplin riffs on Breathe and Stand - Up Comedy, which sees him finally embracing his inner guitar hero. However the rhythm section of Mullen and Clayton are subtle but ahead in the game and Bono’s voice has gotten even stronger despite nearly hitting the age of half a century (yet again he’s broken another rule in rock and roll). But the most standout feature is the way the lyrics were written and delivered; the last time Bono wrote this beautifully was Achtung Baby and the different song structures mean you don't know where the chorus or verse will pop up. This is not a traditional U2 album - it's a transitional U2 album, where they prepare once more to lift off into space and defy gravity. With all this said and done, they are clearly in the same mould as The Killers, Coldplay and the Kings of Leon. There may be no line on the horizon but a new chapter for U2 is.

We’ve been waiting 5 years for the return of U2;during those 5 years many events have occurred. For one thing the heaviest snow in 18 years pelted the UK, the resurrection of pop group Take That, a new American president and what else? Ah yes – a global recession that has its mind set on collapsing the worlds markets. U2 have a lot of choices to choose from to set the theme for their new album (I doubt the recession will be on the top of their list...).

Their previous album How To Dismantle An Atomic Bomb was good and at times engaging, but a bit cheesy in comparison with other work. From Love and Peace or Else’s “Lay down, lay down your guns” to the ridiculous “I didn’t give anyone else a choice/ An intellectual tortoise” of All Because of You. Drummer Larry Mullen Junior demanded that “U2 must return to experimentation.” Good call.

So here we are with U2's 12th album, No Line On the Horizon – reportedly the album that brings back the Achtung Baby –esque experimentation and produced by longtime friends/collaborators/producers Brain Eno, Daniel Lanois and Steve Lillywhite. With the releases of young – guns The Killers, Coldplay and Kings of Leon, U2 have a lot of catching up to do.

First single Get On Your Boots is a good song when played within the album order but horrendous when released as a single. “Laughter is eternity if joy is real” is one of some lyrics that are at times humiliating at first glance but Mullen's break – down and a funky bassline from bassist Adam Clayton along with Bono’s repeated cry to “Let me in the sound” wants you to let him in (whatever the ‘sound’ is). This song showcases U2's ability to be both inventive and embarrassing at the same time. The riff however is modern and I don't remember hearing that many guitar riffs in this day and age. It seems though that even though this song is somewhat of a letdown, it has revitalised some aspects of rock 'n' roll and adding a futuristic component to it. But please Bono, don't try to be sexy by adding 'sexy' to your songs - it's just not you.

Before I go on, calling a song ‘magnificent’ piles huge amount of pressure on the song and artist. So when U2 called one of their songs Magnificent, I got my shotgun ready in case it completely falls flat. The song begins with a growling chain saw like sound before guitarist The Edge delivers his trademark echo sound to the song and traditional rhythms from Clayton and Mullen. Not quite happy. It’s ambient sound and synths gives it an edge but after repeated listens, the title masks U2’s ability to recycle tricks. Bang.

With the mediocre tracks out of the way I can get down into the dirt and dig for the gems. Album opener is the title track, with it’s Eno influenced ambience. But the standout feature is Bono’s voice. He screams, he weeps, he growls – something he hasn’t done since the The Joshua Tree. For once, an opener that challenges the listener unlike instant hit but near-throw-away-songs like Discotheque, Vertigo and Beautiful Day.

Unknown Caller was one of the tracks I’ve heard in the infamous Beach Clips Leak on Youtube. Despite the poor quality of those recordings, it was the song I anticipated the most. Now, it has become my favourite. With the melodic chants of Bono, Edge and producers Eno and Lanois, they bombard the listener with bizarre commands such as “Password, you, enter here” and “Cease to speak/That I may speak/Shush now!” which is reminiscent to Zooropa’s Numb. Horns and a raw and surprisingly long solo from The Edge end the song strongly.

Bono always had an odd relationship with pop music. Their 9th studio album (inappropriately) named Pop seemed like a dagger aimed at pop music before it’s successor All That You Can’t Leave Behind seemed to embrace it. Not to mention Bono’s secret desire to be the 6th member of Girls Aloud. Laughable title I’ll Go Crazy If I Don’t Go Crazy Tonight is certainly “the Beautiful Day of the album” as Bono described it. U2 fans may dislike it for including radio - friendly pop but you have to admit, U2 can’t be U2 without a bit of silliness? It’s chorus – no matter how much you may hate it – will linger in your head, forcing you to love it.

The last half of the album is where the true experimentation lies. Fez – Being Born is the most experimental, with the faint reprise of Get On Your Boots’ “Let me in the sound.” Mullen’s rattling drums give it a galloping rhythm while Eno’s influence completely takes hold of the U2 ship as haunting vocals hover in the ethereal air. Clayton’s bass swaps roles with Edge’s guitar as he drives the song further.

Slow-tempo duo White As Snow and Cedars of Lebanon leads U2 into meditation mode; coincidentally White As Snow has a Christmas feel to it and I was expecting a climatic explosion at the end but it turns it’s back on it and remains with it’s slow tempo. It ends with Cedars of Lebanon, where Bono is story-telling while Mullen lays down a clattering but minimum beat. “Choose you enemies carefully cos they will define you” advises Bono. Although the two songs may belong in the fillers category, there is something about them that makes it stand out. It doesn't hook you but doesn't make you want to hate it. I've been repeating these 2 songs more than the other songs and it is slowly taking me on a journey.

It’s not a massive leap in direction but more of a step forward into the right direction. Edge’s ringing guitar grasps itself in some of the songs but gradually becomes less used as the album progresses; he uses a lot of swaggering Led Zepplin riffs on Breathe and Stand - Up Comedy, which sees him finally embracing his inner guitar hero. However the rhythm section of Mullen and Clayton are subtle but ahead in the game and Bono’s voice has gotten even stronger despite nearly hitting the age of half a century (yet again he’s broken another rule in rock and roll). But the most standout feature is the way the lyrics were written and delivered; the last time Bono wrote this beautifully was Achtung Baby and the different song structures mean you don't know where the chorus or verse will pop up. This is not a traditional U2 album - it's a transitional U2 album, where they prepare once more to lift off into space and defy gravity. With all this said and done, they are clearly in the same mould as The Killers, Coldplay and the Kings of Leon. There may be no line on the horizon but a new chapter for U2 is.