Edge spills some beans
- Thread starter Registered Dude
- Start date
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PowerSurge
New Yorker
Thats what I thought.
flowerchildH
The Fly
A lot of people expected to hear something from Bono about the recent political events. I personally kept hoping to see him at a rally, but all we got was the se of City of blinding Lights. Both he and Ali attended the Democratic National Convention in July 27, 2004. And Adam and Larry attended Clinton's inauguration on January 20, 1993. (I love my new copy of U2: A Diary!!!! What would I do without it!) Bono has been rather quiet on the political front this election cycle; Hopefully he's focusing that energy on recording!
last unicorn
Blue Crack Addict
^ There's a reason for it. Bono has always stated quite clearly that he does not endorse any politician, party or candidate. He wants to work with everyone on the issues he's campaigning for. He will meet with the new president soon enough.
There have been a lot of musicians who openly supportet Obama, I don't think Bono needs to be among them. After all, he's not American.
There have been a lot of musicians who openly supportet Obama, I don't think Bono needs to be among them. After all, he's not American.
doctorwho
Rock n' Roll Doggie VIP PASS
"and I think that looking back people will say, yes, this album was a big departure. "
As I recall, when Acthung Baby came out, we didn't need to "look back" to decide it was a "big departure"....it was obvious from the start it was! If it needs us a while to "understand and see this" then I am a little skeptical as to what that departure might be...let's just say it's left opened for interpretation!
To be fair, the two (JT to AB and HTDAAB to new album) aren't quite direct comparisons. Even U2 members say it is only similar. I feel the comment was more about the mood.
Plus, we can't overinterpret as times have shifted too much.
As we all know, in 1991, we didn't really have the 'net (at least in terms of how it exists now). So information didn't travel that quickly. If today's technology existed then, perhaps we would have heard a lot about U2's "new sound" and "new look".
Also, the time between R&H (which did have 9 new songs, and new b-side material) and AB was 3 years. We are now moving to 4+ years since HTDAAB. Furthermore, the time between JT and R&H was only 1.5 years. So while U2 clearly were slowing down already at that time, in the midst of arguably their largest popularity, 3 albums were released in 4.5 years, with a movie! In contrast, there have only been 2 U2 albums of new material released since 2000, so clearly people are wondering what's going on. As such, U2 has to justify the delay.
Going back to what is arguably the height of their popularity, U2 didn't really need to talk about these changes - U2 knew they would sell. JT and R&H sold millions. MTV still played videos and radio still played songs from all sorts of artists (not just a pre-selected group of 20). So U2 didn't really need to advertise that much - they were able to go with it.
Lastly, in 1991, I think U2 wanted to surprise the world. While the transition from "War" to UF may have surprised some, the sound shift wasn't nearly as dramatic as JT to AB. More importantly, though, was the image shift. In the 80's, we saw U2 grow up. Bono's hair was a reflection of the times as well (from punkish mess, to mullet to long hair). 1991 had U2's look and sound change and I think U2 wanted that on the "down low" until the album was released. In contrast, come 2009, fans are used to U2 changing their looks, sound and style. Hence, it won't be a shock any more. In fact, people expect it (kind of like they way people wonder what Madonna's new look will be on any album). So Edge's statements are merely reaffirming that a change is coming.
My guess in all of this is that there will be songs that could have fit on prior U2 albums. After all, songs like "One" and "Stay" could have fit on previous U2 albums. But there will also be songs that are radically different - and those are key. On R&H, we started hearing songs that indicated a potential shift (like "God Part II"). We also heard those types of songs on HTDAAB (with "Fast Cars" and "Love and Peace"). So it will be interesting to see where the new work takes us. But I won't be surprised to hear some songs that are more "traditional" U2.
PowerSurge
New Yorker
To be fair, the two (JT to AB and HTDAAB to new album) aren't quite direct comparisons. Even U2 members say it is only similar. I feel the comment was more about the mood.
Plus, we can't overinterpret as times have shifted too much.
As we all know, in 1991, we didn't really have the 'net (at least in terms of how it exists now). So information didn't travel that quickly. If today's technology existed then, perhaps we would have heard a lot about U2's "new sound" and "new look".
Also, the time between R&H (which did have 9 new songs, and new b-side material) and AB was 3 years. We are now moving to 4+ years since HTDAAB. Furthermore, the time between JT and R&H was only 1.5 years. So while U2 clearly were slowing down already at that time, in the midst of arguably their largest popularity, 3 albums were released in 4.5 years, with a movie! In contrast, there have only been 2 U2 albums of new material released since 2000, so clearly people are wondering what's going on. As such, U2 has to justify the delay.
Going back to what is arguably the height of their popularity, U2 didn't really need to talk about these changes - U2 knew they would sell. JT and R&H sold millions. MTV still played videos and radio still played songs from all sorts of artists (not just a pre-selected group of 20). So U2 didn't really need to advertise that much - they were able to go with it.
Lastly, in 1991, I think U2 wanted to surprise the world. While the transition from "War" to UF may have surprised some, the sound shift wasn't nearly as dramatic as JT to AB. More importantly, though, was the image shift. In the 80's, we saw U2 grow up. Bono's hair was a reflection of the times as well (from punkish mess, to mullet to long hair). 1991 had U2's look and sound change and I think U2 wanted that on the "down low" until the album was released. In contrast, come 2009, fans are used to U2 changing their looks, sound and style. Hence, it won't be a shock any more. In fact, people expect it (kind of like they way people wonder what Madonna's new look will be on any album). So Edge's statements are merely reaffirming that a change is coming.
My guess in all of this is that there will be songs that could have fit on prior U2 albums. After all, songs like "One" and "Stay" could have fit on previous U2 albums. But there will also be songs that are radically different - and those are key. On R&H, we started hearing songs that indicated a potential shift (like "God Part II"). We also heard those types of songs on HTDAAB (with "Fast Cars" and "Love and Peace"). So it will be interesting to see where the new work takes us. But I won't be surprised to hear some songs that are more "traditional" U2.
Well put.
I think thats the reason why its so tough for bands to achieve some kind of legitimate longevity in music. The more albums they put out the more expectations fans begin to have based on the previous work.
The catch 22 is this: If a band repeats what they did successfully without anything being new then they are deemed uncreative and unable to break new ground and create new sounds. If a band creates new sounds and goes a different direction their fans will scream bloody murder because the new music doesn't coincide with their previous work.
It bugs the shit out me when I hear people saying that some new band or one thats put out 1, 2, or 3 records are better than U2. Great, they might be NOW, but lets see what happens as they release more music. It ain't so easy is it?
U2 have been able to reinvent themselves over and over again, still stay relavent, have a loyal following AND growing fan base and still make some pretty kick ass music well past their 30's.
mikal
Blue Crack Addict
I got some news for y'all:
JT and AB ain't as different from each other has been made out to be.
As if somehow there are two totally different bands here....come on.
Yeah, they're "different" from each other in some ways, but that's always been the way from album to album with them.
If anything the most radical departure was in image.
JT and AB ain't as different from each other has been made out to be.
As if somehow there are two totally different bands here....come on.
Yeah, they're "different" from each other in some ways, but that's always been the way from album to album with them.
If anything the most radical departure was in image.
doctorwho
Rock n' Roll Doggie VIP PASS
There are easily some songs on AB that could fit on JT. "One", "Acrobat", "Love Is Blindness" all leap to mind. What's different are the more "pop" songs, like "Mysterious Ways" and "Even Better Than..." that really stand out. And the lyrics are more direct, not as abstract. Additionally, Bono's singing is also quite different. Gone are the wails, often replaced by whispers and spoken words ("The Fly", "Until the End..."). And it's these shifts that make the album stand out as rather different.
But ultimately, yes, one can see how one is a progression from the other.
What really leaps out is the change in image. And while the change from white flags to cowboy hats may seem dramatic, it also flows. One could see U2 growing up in the 80's and their style was a reflection of the times. As I wrote before, Bono's hair was a great example - from punkish moptop, to mullet, to long hair. But the imagery and style on AB and the ZOO TV tour didn't match the times (grunge music) and was a dramatic shift. And I think this is what U2 remember a lot when they think of the change. The music was different but great. The shock came more with the imagery.
At this point in time, grey or thinning hair, larger bellies, age, and family life will limit the changes U2 can make in terms of style. I know I don't want to see a 50 year old dressing up in leather pants! So the change will be about the music - and this may be a reason U2 is working so hard on it. They want to show relevance and musical exploration. They can't surprise just by a change in style. So it will be interesting to see what is created.
OP
OP
Registered Dude
Rock n' Roll Doggie Band-aid
edge spills some more.. U2TOUR.DE - U2 News, Berichte, Photos, U2 Forum, Setlists, U2 Kalender, U2 Vertigo Tour
can anyone translate? there's talk of a new song, and "no line in the horizon"
can anyone translate? there's talk of a new song, and "no line in the horizon"
OP
OP
Registered Dude
Rock n' Roll Doggie Band-aid
mikal
Blue Crack Addict
Google translation:
On the website of the 'Mojo Magazine' is an interview with The Edge on the new album, which is expected in early 2009. Strangely states in the interview, 'Part II' - a first part we can not discover. The Edge gives some interesting information. Among other things, he mentioned the new song 'Unknown Caller', whose name has not yet been leaked. He confirmed the song title 'Moment Of Surrender', in fact, about 7 minutes to be. Furthermore Edge speaks about the song 'No Line In The Horizon', but this really 'No Line On The Horizon' should mean. Here's the interview!
OP
OP
Registered Dude
Rock n' Roll Doggie Band-aid
Can you talk about a couple of specific tracks?
"There’s a song called Moment Of Surrender, which is seven and a half minutes long. Brian got the ball rolling with a suggestion for some chords and then we made a few adjustments and got to this set of changes that we really liked and then just kicked it off and we immediately realised there was something powerful going on. And when that happens, it’s like you don’t have to say anything in the room; people know it’s going off. Then Adam came up with this incredible bass part and Bono had a couple of melody ideas on the spot, so it was really quick. There’s something really thrilling about a piece that comes together like that, because you really don’t have time to think. There’s something great about that. It’s the purest moment, often, when you don’t have an opportunity to step back and consider anything; you’re just in it."
So it’s a trance-y thing?
"It’s hard to describe really. It’s very 21st Century. It’s a beautiful song, amazing rhythms, great lyrics and [laughs] fantastic guitar playing!
And then there’s another one from Fez [Morocco, where U2 recorded in May/June ’07]. Similar kind of situation, in a session where we’re just trying out ideas and this piece of music just came through and we all knew at the time that it was good. It seems to be everyone’s favourite or second favourite tune on the album. It’s called Unknown Caller."
Can you hear the influence of Fez?
"To some degree. A couple of the tunes were recorded there. We had some local percussionists come down one day – but I’m not sure that the tune they did has made the record. With Unknown Caller the sound of Fez is there because we were recording in this riad [town house]. The way they are constructed, they have this big atrium and that’s where we were set up. So the roof was open and the swallows were flying into the atrium and nesting, so at the beginning of the tune you can hear these swallows. So it really has this very tangible atmosphere of the space that we recorded it in. So Fez is there in that sense. But we’re not into musical tourism. It’s the same with Achtung Baby, there was something in there but it wasn’t overtly German, you know, and this isn’t overtly Moroccan… It’s just a flavour."
Lanois has been quoted a couple of times recently in the Canadian press and the word he seems to be favouring with regard to this record is “innovative”. After all these years with the same team can U2 still be breaking boundaries?
"Well, that’s what we get off on – hearing something that we’ve never heard before. It’s so great to work with Brian; he’s always doing things that are completely fresh, and we as a band don’t really come alive unless we feel like we’re exploring some uncharted territory. So, it’s not easy to get something that you’re really excited about, but once you do, you know, and that’s everything for us. We wouldn’t want to be working with anyone else on that front. Both Brian and Danny are hugely inspiring to work with, breaking us out of our comfort zone in our writing or playing."
Your relationship has endured longer than almost any other band/producer match-up, but it’s more than that this time. Did I read that Brian and Danny were writing with you?
"We decided at the beginning of the project that we would make that offer to Brian and Danny to see what it might lead us to and I think it was really great. I think they were both flattered and I think it gave them a great boost of affirmation and confidence. So those sessions had this great atmosphere; everyone was in a great mood and we got some great shit out of it. That doesn’t mean that we didn’t have to go off and write as U2. Bono and I did a lot of work on material on our own as well, but it was those sessions that set the tone for the album and they wouldn’t have panned out as they did if we hadn’t asked Brian and Danny to co-write with us."
After a couple of straight-ish rock records in All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb, was it time for U2 to stretch out again? Does knowing you’re in a position of strength mean you can do something wilder?
"I think for us it’s really about keeping it fresh. Making All That You Can Leave Behind and How To Dismantle… inspired us at the time. This time we wanted to try something different and we didn’t really know what it was. We just knew that we wanted to fall in love with the process of making music and see where it led us. So, initially, we didn’t really think about where the music was going to go; we were just playing together and seeing what happened. And, by not concentrating at all on making an album I think an album started to emerge. So, it’s really us following our creative instincts. In some ways it’s very uncontrived. People tend to think of our music as being a manifesto of a kind but this is really organic; it’s just what is interesting to us right now in music and going for that."
What’s Bono banging on about this time?
"I think there are some interesting third person characters in the songs. It’s giving Bono an opportunity to change his perspective in the lyric writing. I think the last two albums were really personal and first-person. But I think this one has a more panoramic scope lyrically, so it’s still personal and it’s still ultimately written from experience and Bono’s perspective, but he just has more freedom."
Did his piano lessons come in handy?
"Yeah! He’s been working a lot on material on his own and that’s fed into various different projects that we’re working on. It’s cool. We’re all still in a phase where we can learn, develop and change. I don’t think we’ve actually stopped that process of being born, so to speak. And it’s very inspiring for me to see Bono coming up with very strong musical ideas. That’s what being in a band is all about."
You always manage to find – in every record – a piece of technology that you engage with immediately, and that throws up a song. Where The Streets Have No Name came out of your dabblings with the Infinite Guitar box, and this time you mentioned your Death By Audio pedal…
"It’s this particular kind of 21st Century distortion. Guitar is such a versatile instrument, but it’s very easy to get in a cul-de-sac in terms of how it sounds. I love anything that just gives it a different personality and this particular set of distortion pedals I think, are a different colour. It’s like a different personality and that, for me, is a great jumping-off point. I used Death By Audio’s Supersonic Fuzz Gun on the song No Line In The Horizon, and a couple of others I think. It was Ben Curtis who turned me onto them. He’s one of the Curtis Brothers from Secret Machine – he’s got a new band now called School Of Seven Bells, who are pretty interesting."
So how much work is left to do?
"Way too much, as usual, but we will get there. We’re not f**king around this time. This is personal!"
"There’s a song called Moment Of Surrender, which is seven and a half minutes long. Brian got the ball rolling with a suggestion for some chords and then we made a few adjustments and got to this set of changes that we really liked and then just kicked it off and we immediately realised there was something powerful going on. And when that happens, it’s like you don’t have to say anything in the room; people know it’s going off. Then Adam came up with this incredible bass part and Bono had a couple of melody ideas on the spot, so it was really quick. There’s something really thrilling about a piece that comes together like that, because you really don’t have time to think. There’s something great about that. It’s the purest moment, often, when you don’t have an opportunity to step back and consider anything; you’re just in it."
So it’s a trance-y thing?
"It’s hard to describe really. It’s very 21st Century. It’s a beautiful song, amazing rhythms, great lyrics and [laughs] fantastic guitar playing!
And then there’s another one from Fez [Morocco, where U2 recorded in May/June ’07]. Similar kind of situation, in a session where we’re just trying out ideas and this piece of music just came through and we all knew at the time that it was good. It seems to be everyone’s favourite or second favourite tune on the album. It’s called Unknown Caller."
Can you hear the influence of Fez?
"To some degree. A couple of the tunes were recorded there. We had some local percussionists come down one day – but I’m not sure that the tune they did has made the record. With Unknown Caller the sound of Fez is there because we were recording in this riad [town house]. The way they are constructed, they have this big atrium and that’s where we were set up. So the roof was open and the swallows were flying into the atrium and nesting, so at the beginning of the tune you can hear these swallows. So it really has this very tangible atmosphere of the space that we recorded it in. So Fez is there in that sense. But we’re not into musical tourism. It’s the same with Achtung Baby, there was something in there but it wasn’t overtly German, you know, and this isn’t overtly Moroccan… It’s just a flavour."
Lanois has been quoted a couple of times recently in the Canadian press and the word he seems to be favouring with regard to this record is “innovative”. After all these years with the same team can U2 still be breaking boundaries?
"Well, that’s what we get off on – hearing something that we’ve never heard before. It’s so great to work with Brian; he’s always doing things that are completely fresh, and we as a band don’t really come alive unless we feel like we’re exploring some uncharted territory. So, it’s not easy to get something that you’re really excited about, but once you do, you know, and that’s everything for us. We wouldn’t want to be working with anyone else on that front. Both Brian and Danny are hugely inspiring to work with, breaking us out of our comfort zone in our writing or playing."
Your relationship has endured longer than almost any other band/producer match-up, but it’s more than that this time. Did I read that Brian and Danny were writing with you?
"We decided at the beginning of the project that we would make that offer to Brian and Danny to see what it might lead us to and I think it was really great. I think they were both flattered and I think it gave them a great boost of affirmation and confidence. So those sessions had this great atmosphere; everyone was in a great mood and we got some great shit out of it. That doesn’t mean that we didn’t have to go off and write as U2. Bono and I did a lot of work on material on our own as well, but it was those sessions that set the tone for the album and they wouldn’t have panned out as they did if we hadn’t asked Brian and Danny to co-write with us."
After a couple of straight-ish rock records in All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb, was it time for U2 to stretch out again? Does knowing you’re in a position of strength mean you can do something wilder?
"I think for us it’s really about keeping it fresh. Making All That You Can Leave Behind and How To Dismantle… inspired us at the time. This time we wanted to try something different and we didn’t really know what it was. We just knew that we wanted to fall in love with the process of making music and see where it led us. So, initially, we didn’t really think about where the music was going to go; we were just playing together and seeing what happened. And, by not concentrating at all on making an album I think an album started to emerge. So, it’s really us following our creative instincts. In some ways it’s very uncontrived. People tend to think of our music as being a manifesto of a kind but this is really organic; it’s just what is interesting to us right now in music and going for that."
What’s Bono banging on about this time?
"I think there are some interesting third person characters in the songs. It’s giving Bono an opportunity to change his perspective in the lyric writing. I think the last two albums were really personal and first-person. But I think this one has a more panoramic scope lyrically, so it’s still personal and it’s still ultimately written from experience and Bono’s perspective, but he just has more freedom."
Did his piano lessons come in handy?
"Yeah! He’s been working a lot on material on his own and that’s fed into various different projects that we’re working on. It’s cool. We’re all still in a phase where we can learn, develop and change. I don’t think we’ve actually stopped that process of being born, so to speak. And it’s very inspiring for me to see Bono coming up with very strong musical ideas. That’s what being in a band is all about."
You always manage to find – in every record – a piece of technology that you engage with immediately, and that throws up a song. Where The Streets Have No Name came out of your dabblings with the Infinite Guitar box, and this time you mentioned your Death By Audio pedal…
"It’s this particular kind of 21st Century distortion. Guitar is such a versatile instrument, but it’s very easy to get in a cul-de-sac in terms of how it sounds. I love anything that just gives it a different personality and this particular set of distortion pedals I think, are a different colour. It’s like a different personality and that, for me, is a great jumping-off point. I used Death By Audio’s Supersonic Fuzz Gun on the song No Line In The Horizon, and a couple of others I think. It was Ben Curtis who turned me onto them. He’s one of the Curtis Brothers from Secret Machine – he’s got a new band now called School Of Seven Bells, who are pretty interesting."
So how much work is left to do?
"Way too much, as usual, but we will get there. We’re not f**king around this time. This is personal!"
mikal
Blue Crack Addict
Edge Interview: Part II
5:44 PM GMT 20/11/2008
Can you talk about a couple of specific tracks?
There’s a song called Moment Of Surrender, which is seven and a half minutes long. Brian got the ball rolling with a suggestion for some chords and then we made a few adjustments and got to this set of changes that we really liked and then just kicked it off and we immediately realised there was something powerful going on. And when that happens, it’s like you don’t have to say anything in the room; people know it’s going off. Then Adam came up with this incredible bass part and Bono had a couple of melody ideas on the spot, so it was really quick. There’s something really thrilling about a piece that comes together like that, because you really don’t have time to think. There’s something great about that. It’s the purest moment, often, when you don’t have an opportunity to step back and consider anything; you’re just in it.
So it’s a trance-y thing?
It’s hard to describe really. It’s very 21st Century. It’s a beautiful song, amazing rhythms, great lyrics and [laughs] fantastic guitar playing!
And then there’s another one from Fez [Morocco, where U2 recorded in May/June ’07]. Similar kind of situation, in a session where we’re just trying out ideas and this piece of music just came through and we all knew at the time that it was good. It seems to be everyone’s favourite or second favourite tune on the album. It’s called Unknown Caller.
Can you hear the influence of Fez?
To some degree. A couple of the tunes were recorded there. We had some local percussionists come down one day – but I’m not sure that the tune they did has made the record. With Unknown Caller the sound of Fez is there because we were recording in this riad [town house]. The way they are constructed, they have this big atrium and that’s where we were set up. So the roof was open and the swallows were flying into the atrium and nesting, so at the beginning of the tune you can hear these swallows. So it really has this very tangible atmosphere of the space that we recorded it in. So Fez is there in that sense. But we’re not into musical tourism. It’s the same with Achtung Baby, there was something in there but it wasn’t overtly German, you know, and this isn’t overtly Moroccan… It’s just a flavour.
Lanois has been quoted a couple of times recently in the Canadian press and the word he seems to be favouring with regard to this record is “innovative”. After all these years with the same team can U2 still be breaking boundaries?
Well, that’s what we get off on – hearing something that we’ve never heard before. It’s so great to work with Brian; he’s always doing things that are completely fresh, and we as a band don’t really come alive unless we feel like we’re exploring some uncharted territory. So, it’s not easy to get something that you’re really excited about, but once you do, you know, and that’s everything for us. We wouldn’t want to be working with anyone else on that front. Both Brian and Danny are hugely inspiring to work with, breaking us out of our comfort zone in our writing or playing.
Your relationship has endured longer than almost any other band/producer match-up, but it’s more than that this time. Did I read that Brian and Danny were writing with you?
We decided at the beginning of the project that we would make that offer to Brian and Danny to see what it might lead us to and I think it was really great. I think they were both flattered and I think it gave them a great boost of affirmation and confidence. So those sessions had this great atmosphere; everyone was in a great mood and we got some great shit out of it. That doesn’t mean that we didn’t have to go off and write as U2. Bono and I did a lot of work on material on our own as well, but it was those sessions that set the tone for the album and they wouldn’t have panned out as they did if we hadn’t asked Brian and Danny to co-write with us.
After a couple of straight-ish rock records in All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb, was it time for U2 to stretch out again? Does knowing you’re in a position of strength mean you can do something wilder?
I think for us it’s really about keeping it fresh. Making All That You Can Leave Behind and How To Dismantle… inspired us at the time. This time we wanted to try something different and we didn’t really know what it was. We just knew that we wanted to fall in love with the process of making music and see where it led us. So, initially, we didn’t really think about where the music was going to go; we were just playing together and seeing what happened. And, by not concentrating at all on making an album I think an album started to emerge. So, it’s really us following our creative instincts. In some ways it’s very uncontrived. People tend to think of our music as being a manifesto of a kind but this is really organic; it’s just what is interesting to us right now in music and going for that.
What’s Bono banging on about this time?
I think there are some interesting third person characters in the songs. It’s giving Bono an opportunity to change his perspective in the lyric writing. I think the last two albums were really personal and first-person. But I think this one has a more panoramic scope lyrically, so it’s still personal and it’s still ultimately written from experience and Bono’s perspective, but he just has more freedom.
Did his piano lessons come in handy?
Yeah! He’s been working a lot on material on his own and that’s fed into various different projects that we’re working on. It’s cool. We’re all still in a phase where we can learn, develop and change. I don’t think we’ve actually stopped that process of being born, so to speak. And it’s very inspiring for me to see Bono coming up with very strong musical ideas. That’s what being in a band is all about.
You always manage to find – in every record – a piece of technology that you engage with immediately, and that throws up a song. Where The Streets Have No Name came out of your dabblings with the Infinite Guitar box, and this time you mentioned your Death By Audio pedal…
It’s this particular kind of 21st Century distortion. Guitar is such a versatile instrument, but it’s very easy to get in a cul-de-sac in terms of how it sounds. I love anything that just gives it a different personality and this particular set of distortion pedals I think, are a different colour. It’s like a different personality and that, for me, is a great jumping-off point. I used Death By Audio’s Supersonic Fuzz Gun on the song No Line In The Horizon, and a couple of others I think. It was Ben Curtis who turned me onto them. He’s one of the Curtis Brothers from Secret Machine – he’s got a new band now called School Of Seven Bells, who are pretty interesting.
So how much work is left to do?
Way too much, as usual, but we will get there. We’re not f**king around this time. This is personal!
Interview by: Danny Eccleston
5:44 PM GMT 20/11/2008
Can you talk about a couple of specific tracks?
There’s a song called Moment Of Surrender, which is seven and a half minutes long. Brian got the ball rolling with a suggestion for some chords and then we made a few adjustments and got to this set of changes that we really liked and then just kicked it off and we immediately realised there was something powerful going on. And when that happens, it’s like you don’t have to say anything in the room; people know it’s going off. Then Adam came up with this incredible bass part and Bono had a couple of melody ideas on the spot, so it was really quick. There’s something really thrilling about a piece that comes together like that, because you really don’t have time to think. There’s something great about that. It’s the purest moment, often, when you don’t have an opportunity to step back and consider anything; you’re just in it.
So it’s a trance-y thing?
It’s hard to describe really. It’s very 21st Century. It’s a beautiful song, amazing rhythms, great lyrics and [laughs] fantastic guitar playing!
And then there’s another one from Fez [Morocco, where U2 recorded in May/June ’07]. Similar kind of situation, in a session where we’re just trying out ideas and this piece of music just came through and we all knew at the time that it was good. It seems to be everyone’s favourite or second favourite tune on the album. It’s called Unknown Caller.
Can you hear the influence of Fez?
To some degree. A couple of the tunes were recorded there. We had some local percussionists come down one day – but I’m not sure that the tune they did has made the record. With Unknown Caller the sound of Fez is there because we were recording in this riad [town house]. The way they are constructed, they have this big atrium and that’s where we were set up. So the roof was open and the swallows were flying into the atrium and nesting, so at the beginning of the tune you can hear these swallows. So it really has this very tangible atmosphere of the space that we recorded it in. So Fez is there in that sense. But we’re not into musical tourism. It’s the same with Achtung Baby, there was something in there but it wasn’t overtly German, you know, and this isn’t overtly Moroccan… It’s just a flavour.
Lanois has been quoted a couple of times recently in the Canadian press and the word he seems to be favouring with regard to this record is “innovative”. After all these years with the same team can U2 still be breaking boundaries?
Well, that’s what we get off on – hearing something that we’ve never heard before. It’s so great to work with Brian; he’s always doing things that are completely fresh, and we as a band don’t really come alive unless we feel like we’re exploring some uncharted territory. So, it’s not easy to get something that you’re really excited about, but once you do, you know, and that’s everything for us. We wouldn’t want to be working with anyone else on that front. Both Brian and Danny are hugely inspiring to work with, breaking us out of our comfort zone in our writing or playing.
Your relationship has endured longer than almost any other band/producer match-up, but it’s more than that this time. Did I read that Brian and Danny were writing with you?
We decided at the beginning of the project that we would make that offer to Brian and Danny to see what it might lead us to and I think it was really great. I think they were both flattered and I think it gave them a great boost of affirmation and confidence. So those sessions had this great atmosphere; everyone was in a great mood and we got some great shit out of it. That doesn’t mean that we didn’t have to go off and write as U2. Bono and I did a lot of work on material on our own as well, but it was those sessions that set the tone for the album and they wouldn’t have panned out as they did if we hadn’t asked Brian and Danny to co-write with us.
After a couple of straight-ish rock records in All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb, was it time for U2 to stretch out again? Does knowing you’re in a position of strength mean you can do something wilder?
I think for us it’s really about keeping it fresh. Making All That You Can Leave Behind and How To Dismantle… inspired us at the time. This time we wanted to try something different and we didn’t really know what it was. We just knew that we wanted to fall in love with the process of making music and see where it led us. So, initially, we didn’t really think about where the music was going to go; we were just playing together and seeing what happened. And, by not concentrating at all on making an album I think an album started to emerge. So, it’s really us following our creative instincts. In some ways it’s very uncontrived. People tend to think of our music as being a manifesto of a kind but this is really organic; it’s just what is interesting to us right now in music and going for that.
What’s Bono banging on about this time?
I think there are some interesting third person characters in the songs. It’s giving Bono an opportunity to change his perspective in the lyric writing. I think the last two albums were really personal and first-person. But I think this one has a more panoramic scope lyrically, so it’s still personal and it’s still ultimately written from experience and Bono’s perspective, but he just has more freedom.
Did his piano lessons come in handy?
Yeah! He’s been working a lot on material on his own and that’s fed into various different projects that we’re working on. It’s cool. We’re all still in a phase where we can learn, develop and change. I don’t think we’ve actually stopped that process of being born, so to speak. And it’s very inspiring for me to see Bono coming up with very strong musical ideas. That’s what being in a band is all about.
You always manage to find – in every record – a piece of technology that you engage with immediately, and that throws up a song. Where The Streets Have No Name came out of your dabblings with the Infinite Guitar box, and this time you mentioned your Death By Audio pedal…
It’s this particular kind of 21st Century distortion. Guitar is such a versatile instrument, but it’s very easy to get in a cul-de-sac in terms of how it sounds. I love anything that just gives it a different personality and this particular set of distortion pedals I think, are a different colour. It’s like a different personality and that, for me, is a great jumping-off point. I used Death By Audio’s Supersonic Fuzz Gun on the song No Line In The Horizon, and a couple of others I think. It was Ben Curtis who turned me onto them. He’s one of the Curtis Brothers from Secret Machine – he’s got a new band now called School Of Seven Bells, who are pretty interesting.
So how much work is left to do?
Way too much, as usual, but we will get there. We’re not f**king around this time. This is personal!
Interview by: Danny Eccleston
mikal
Blue Crack Addict
so i guess we can add "Unknown Caller" to the list of song titles.
mikal
Blue Crack Addict
djerdap
Rock n' Roll Doggie ALL ACCESS
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Is that really The Edge? I can't imagine him saying all these cheesy lines like: "This time it's personal!" or "...fantastic guitar playing!"
It's all about the delivery, I guess.
It's all about the delivery, I guess.
djerdap
Rock n' Roll Doggie ALL ACCESS
- Joined
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I keep having problems with double posts... WTF?
PowerSurge
New Yorker
Great article...now THIS is what I've been hungering for, some DETAILS!!!
A couple quick points:
1. Sounds like MOS will truly be a phenomenal song. Think about the last couple of songs that they talk about bringing the band together to quickly put things together in a fresh way: One and Kite. Both greats songs that came together relatively quickly and remained relatively hardly untouched from creation to final mix. This is exciting
2. Sounds like NLOTH is the front runner for the lead single. They tend to put forth a single that sets the tone for a different sounding album: The Fly, Numb, Discotheque, Beautiful Day, Vertigo. I'll bet almost anything that it the first single after reading about the distortion box.
3. "Unknown Caller" is this a potential bridge to SYCMIOYO. The whole "Its you when I don't pick up the phone...." IDK, Just a thought.
A couple quick points:
1. Sounds like MOS will truly be a phenomenal song. Think about the last couple of songs that they talk about bringing the band together to quickly put things together in a fresh way: One and Kite. Both greats songs that came together relatively quickly and remained relatively hardly untouched from creation to final mix. This is exciting
2. Sounds like NLOTH is the front runner for the lead single. They tend to put forth a single that sets the tone for a different sounding album: The Fly, Numb, Discotheque, Beautiful Day, Vertigo. I'll bet almost anything that it the first single after reading about the distortion box.
3. "Unknown Caller" is this a potential bridge to SYCMIOYO. The whole "Its you when I don't pick up the phone...." IDK, Just a thought.
OP
OP
Registered Dude
Rock n' Roll Doggie Band-aid
I have a baseless feeling that Unknown Caller is beach clip 1. a song that has its roots in Fez.
oh, and the chorus sounds like a conversation
oh, and the chorus sounds like a conversation
The_Edge89
Rock n' Roll Doggie Band-aid
Anyway...does this mean that One Bird---> Unknown Caller?
"...so at the beginning of the tune you can hear these swallows."
super fly guy
New Yorker
Good interview,but it didnt seem like edge. Especialy the we are not fucking around part! Still no mention of a release date though.
Chill Mike D
War Child
Sounds like Edge to me.
MrBTH
War Child
Unknown Caller = Fantastic song title. Very evocative, mysterious, contemporary... I don't know, it just sounds somehow exciting!
popacrobat
Rock n' Roll Doggie FOB
i'm excited about the lyrics.
last unicorn
Blue Crack Addict
I had a laugh when I read this because I thought you were refering to the "unknown caller".
Anyway, nice interview and interesting facts! And it totally sounds like Edge to me!
The_Edge89
Rock n' Roll Doggie Band-aid
I have a feeling it might go something like this...
So after the initial Fast Cars/One Bird/Unknown Caller connection I thought of the song with those lyrics above.
I wonder if I'm the only one?
I guess it will be a better song the Backstreet Boys' song (The Call) in any case.PowerSurge
New Yorker
Why do I keep thinking of my cel phone when I hear that?
Oh thats right, because my shitty service puts that description on my cel phone screen about 40 times a day when my friends and family call.
popacrobat
Rock n' Roll Doggie FOB
I have a feeling it might go something like this...
So after the initial Fast Cars/One Bird/Unknown Caller connection I thought of the song with those lyrics above.
I wonder if I'm the only one?
haha that's great.
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