Invisible...

[marik]

After seeing thr music video, i really thought this song woukd kick ass in live concert. Possibly even a good opener. But seeing it in person mutliple times, i must admit i was underwhelmed with it, with the crowd response to it and choice to do it in the screen

 

[CMIS]

After seeing thr music video, i really thought this song woukd kick ass in live concert. Possibly even a good opener. But seeing it in person mutliple times, i must admit i was underwhelmed with it, with the crowd response to it and choice to do it in the screen

I think the choice to do it inside the screen is what makes it underwhelming. It wows at first, but the novelty wears off and it detracts from the song.

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[marik]

Do you figure this will be one of the songs dropped for the eXERIENCE part of the tour to make room for new Songs? Or will they see it as essential part of the show for the screen aspect?

 

[Oregoropa]

They'll drop it. The crowd just wasn't into it


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[Montrose]

I think the choice to do it inside the screen is what makes it underwhelming. It wows at first, but the novelty wears off and it detracts from the song.

Sent from my HTC One_M8 using U2 Interference mobile app

It was missing an element with the screen. It needed to explode at some point ..the screen needed to transition to something like the effect from the video. It stayed too subtle for too long for a song that not everyone was familiar with. I did enjoy how it sounded live, so as a fan I hope it's there next round. But I'd understand if they felt it wasn't getting the pop it deserved and dropped it.


Sent from my fingertips.

 

[CMIS]

Yeah, it sounded good. I hope they keep it.

What I really want in round two is the full band/album version of EBW

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[Gzusfrk]

This song holds up so well, it sounds fresh but like U2. Should have been on SOI, which should have been launched after the Super Bowl. What might have been.

Sorry, very random

 

[Iggy Fizz]

It is a really good track, high energy and some lyrics that are really heavy, with anger, tension and personal - the way U2 should be. Unfortunately it does sound a bit 'manufactured' and not raw enough. the electro drums dont help.

 

[Gzusfrk]

It is a really good track, high energy and some lyrics that are really heavy, with anger, tension and personal - the way U2 should be. Unfortunately it does sound a bit 'manufactured' and not raw enough. the electro drums dont help.

I don’t mind the electronic drums, what I love though is that it doesn’t sound forced, like they’re trying SO HARD! To me this, SLABT, Troubles, a few others on SOI sound creatively free and easy, which they weren’t, but you can’t hear it. I like SOE, but it all sounds like they are trying too hard, even the best stuff like Little Things. IMHO, they actually got the opposite result of what they wanted with SOE

 

[lazarus]

Danger Mouse gave us a tase of something great, and we waited 6 months to see his efforts watered down by some pop assholes.

 

[Iggy Fizz]

I am not as familiar with the specific influences of the different producers. I know Tedder is considered the pop guy. But I take a simple view of things and if a song is great or terrible, I lay that at the band's feet, not the hired merceneries brought in to prop them up.

Like if a Coke ad insults or offends me, I am not interested in the ad agency involved - it's a Coke fail.

 

[Catman]

Alternatively, you can view a producer as a possible mentor figure, serving to guide and inspire those in reaching their fullest potential. Granted, the end result ultimately rests on the shoulders of the artist, but how they achieve that outcome can be represented in the difference between having Mr. Miyagi or Michael Scott in your corner.

 

[An Cat Gav]

Danger Mouse gave us a tase of something great, and we waited 6 months to see his efforts watered down by some pop assholes.

Totally.

Invisible, and the final 3 tracks on SoI make me believe that if Dangermouse had been given the full producer responsibility we could have had a truly great album. It's still a very good album, but largely due to the songs he produced.

 

[AndrewCowley]

Agree totally. SOI is meh to me until those final 3 tracks. Could have wept when I read the producer credits to realise what could have been if DM did the whole thing.

Invisible is a great song if nothing else because it has a proper old school Edge guitar riff in it.

 

[womanfish]

To me Invisible is really bland and the definition of U2 trying to be U2. Not quite as bland as Get Out, but pretty close. To me, not as good as any song on SOI except for Song for Someone. If it had replaced SFS, I could live with that. But the only real choice for that replacement is The Crystal Ballroom. Blows them both away.

 

[Headache in a Suitcase]

Danger Mouse gave us a tase of something great, and we waited 6 months to see his efforts watered down by some pop assholes.

This times a billion

 

[Catman]

To me Invisible is really bland and the definition of U2 trying to be U2. Not quite as bland as Get Out, but pretty close. To me, not as good as any song on SOI except for Song for Someone. If it had replaced SFS, I could live with that. But the only real choice for that replacement is The Crystal Ballroom. Blows them both away.

Yeah, I'm pretty much of the same opinion. But having said that... I've no problems at all with the production; it's U2's derivative songwriting that turns me off [emoji14] But having said the thing that I just said, I don't really dislike Invisible, either. I mean, it's fine, I guess... just a bit "whatever" lol

 

[Hollow Island]

Invisible sounds like early New Order to me. I remember thinking "huh, they're making a blatant New Order track a decade after it was a trend, they're kinda out of touch!" when I first heard it, but then I remembered that they've been heavily influenced by Joy Division/New Order since the beginning, and if anyone can get away with using that template it's U2!


It ought to have been on the album instead of California, or maybe Every Breaking Wave, which is clearly a song about adults. Anyway, Invisible fits the narrative musically and lyrically, and it should have been on the album.

 

[womanfish]

Invisible sounds like early New Order to me. I remember thinking "huh, they're making a blatant New Order track a decade after it was a trend, they're kinda out of touch!" when I first heard it, but then I remembered that they've been heavily influenced by Joy Division/New Order since the beginning, and if anyone can get away with using that template it's U2!


It ought to have been on the album instead of California, or maybe Every Breaking Wave, which is clearly a song about adults. Anyway, Invisible fits the narrative musically and lyrically, and it should have been on the album.

hmmmmmm... Possible late New Order in the first opening part. But my understanding was they were giving a nod to Kraftwerk with the opening on that one. Either way, its paint by numbers bland.

 

[Catman]

It ought to have been on the album instead of California, or maybe Every Breaking Wave, which is clearly a song about adults. Anyway, Invisible fits the narrative musically and lyrically, and it should have been on the album.

Yeah, the song definitely feels like it has a place on the album. Not sure I'd say that place is where EBW resides, though. Because Invisible's narrative is an origin story of sorts, I feel it would've best fit as the album's opener (and sonically speaking, it just sounds better than The Miracle leading into EBW).

 

[Hollow Island]

hmmmmmm... Possible late New Order in the first opening part. But my understanding was they were giving a nod to Kraftwerk with the opening on that one. Either way, its paint by numbers bland.

Kraftwerk makes sense - the Joy Order influence I heard was really Kraftwerk based! I always forget about that band despite loving them and having most of their albums. I wish they'd come to their senses and release 1, 2 and Ralf und Florian.

 

[Headache in a Suitcase]

Invisible sounds like early New Order to me. I remember thinking "huh, they're making a blatant New Order track a decade after it was a trend, they're kinda out of touch!" when I first heard it, but then I remembered that they've been heavily influenced by Joy Division/New Order since the beginning, and if anyone can get away with using that template it's U2!


It ought to have been on the album instead of California, or maybe Every Breaking Wave, which is clearly a song about adults. Anyway, Invisible fits the narrative musically and lyrically, and it should have been on the album.

Agreed... California and Every Breaking Wave have no business being on an album supposedly about U2's origin story.

 

[Iggy Fizz]

Agree about EBW, even though I love that song.

But California was about the band when they were very young and first discovering America. Based on that it does belong on the album.

 

[lazarus]

If we’re talking origins, I think Reach Around made sense as an opener before they changed it to The Miracle, as it’s about The Clash awakening their consciences and then wanting to make music that mattered.

And yes, I think California fits in that it’s about the band’s first visit to the coast, and the grief process Bono is still going through.

EBW has no narrative business on the album. Really dishonest to put it on there.

 

[Gzusfrk]

If we’re talking origins, I think Reach Around made sense as an opener before they changed it to The Miracle, as it’s about The Clash awakening their consciences and then wanting to make music that mattered.

And yes, I think California fits in that it’s about the band’s first visit to the coast, and the grief process Bono is still going through.

EBW has no narrative business on the album. Really dishonest to put it on there.

Didn't they try to shoehorn the idea that EBW was about Bono and Ali falling in love, and getting serious with each other? Or maybe I just dreamt that up

 

[Headache in a Suitcase]

Agree about EBW, even though I love that song.

But California was about the band when they were very young and first discovering America. Based on that it does belong on the album.

If we’re talking origins, I think Reach Around made sense as an opener before they changed it to The Miracle, as it’s about The Clash awakening their consciences and then wanting to make music that mattered.

And yes, I think California fits in that it’s about the band’s first visit to the coast, and the grief process Bono is still going through.

EBW has no narrative business on the album. Really dishonest to put it on there.

U2 didn't play California until 1981.

Chronologically it doesn't fit.

Thematically? Fine, it's about love and grief - but by that standard 90% of U2 songs would fit on the album.

If we're holding tight to the theme of U2's origin story, growing up in Dublin, going after their first record deal, etc.? Then it's out of place.

 

[Hewson]

U2 didn't play California until 1981.

Chronologically it doesn't fit.

Thematically? Fine, it's about love and grief - but by that standard 90% of U2 songs would fit on the album.

If we're holding tight to the theme of U2's origin story, growing up in Dublin, going after their first record deal, etc.? Then it's out of place.

Or maybe it could have closed the album and been like the bridge between the early days and what was to come, but shouldn't be where it is on the album (and like Laz said, Reach Around should have remained the opener).

 

[Headache in a Suitcase]

Or maybe it could have closed the album and been like the bridge between the early days and what was to come, but shouldn't be where it is on the album (and like Laz said, Reach Around should have remained the opener).

I mean sure... but it wouldn't make sense to make this album about their teenage years in Dublin struggling to get a record deal and then Wham-O they're a band on the third leg of the tour in support of their first album

 

[lazarus]

Well it doesn't necessarily have to be U2:Year One. I thought the division we were trying to make was between Innocence and Experience. I'd say 1981 still falls under the former, and is part of The Early Years.

EBW is about some kind of marital trouble, and that falls under Experience for me.

One could also make the case that SLABT doesn't fit either, but I guess since it's about the Catholic culture it can be attached to Dublin. It's still a weird detour on the album IMO.

 

[Headache in a Suitcase]

Well it doesn't necessarily have to be U2:Year One. I thought the division we were trying to make was between Innocence and Experience. I'd say 1981 still falls under the former, and is part of The Early Years.

EBW is about some kind of marital trouble, and that falls under Experience for me.

One could also make the case that SLABT doesn't fit either, but I guess since it's about the Catholic culture it can be attached to Dublin. It's still a weird detour on the album IMO.

Well, California is the only "early band" song that isn't pre-Boy. It just jumps 3-4 years after what the timeline of the other narrative songs.

Sleep is about a pedophile priest - and fits in the teenage Dublin narrative. Troubles was originally supposed to be right after Sleep, and when you listen to them back to back it takes the back or the album in a completely different, darker turn.

Don't know if it's autobiographical or the telling if someone else's story (like Wolves)... but played back to back they definitely feel like two parts of the same story.