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Old 02-25-2009, 04:56 PM   #151
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Quote:
Originally Posted by U2girl View Post
No Line on the Horizon 2 : The rockiest moment you will hear brings back the funky groove for the album’s closer.

Isn't Cedars of Lebanon closing ?
I'm assuming NLOTH2 is the bonus track in Aussieland... which means they can't differentiate between the album closer and the bonus tracks...

Nice thorough review there.
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Old 02-25-2009, 04:57 PM   #152
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Originally Posted by oceane View Post
Wow Amazing reviews, all 3 of them, and by quite important music magazines.
I think anyone who goes into this album without any negative bagage can't help but to at least like it and prolly love it
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Old 02-25-2009, 04:59 PM   #153
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Quote:
Originally Posted by ny_atom View Post
Here are a couple more reviews, posted for no other reason than completeness.

I have no doubts that by the time all the reviews are in, every song will be called either a classic or a dud.

AZ Central (Mostly positive)

ML Live (Mostly positive)
Should add:

AZCentral = 3 1/2 stars out of 5 stars

And the "ML Live" link already posted couple of pages back.

And as for U2girl: Maybe it depends on where you live.
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Old 02-25-2009, 05:24 PM   #154
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wow \- well even the thre major reviews (uncut, Q and Mojo)- can't agree on the key tracks, apart from Magnificent of course - nuff said Mike
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Old 02-25-2009, 05:28 PM   #155
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Originally Posted by Dragonfave View Post
AdelaideNOW rated it 3 stars out of ??? stars (with track-by-track review).

AdelaideNow... Hear U2's new album - No Line on the Horizon

Not a thorough review, mind you.
with all due respect like a review from Adelaide really matters - yes from Sydney or Melbourne maybe , but hey get ready to be flamed..
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Old 02-25-2009, 06:20 PM   #156
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Positive review from "Melbourne Herald Sun" - Review of U2&squo;s new album No Line on the Horizon | Herald Sun

3 1/2 stars ("bold" record) hehe

Negative review from "Fairfield Mirror" - The Fairfield Mirror - U2's "No Line on the Horizon" flatlines

The guy hates "Boots" and "Magnificent"; claiming it's one of the worst albums the band had ever created. No score was given, but it sounds like a 4/10 to me.
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Old 02-25-2009, 06:26 PM   #157
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I made sure to vote "Awesome reinvention" on the poll of that Melbourne one. Not sure if it counted or not. "Too experimental" is winning though. Interference, get to work!
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Old 02-25-2009, 06:35 PM   #158
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Originally Posted by catlhere View Post
I made sure to vote "Awesome reinvention" on the poll of that Melbourne one. Not sure if it counted or not. "Too experimental" is winning though. Interference, get to work!
Awesome reinvention
65% (13 votes)


Oh, no more...
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Old 02-25-2009, 06:38 PM   #159
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How people claim this to be ‘too experimental’ I don’t know.
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Old 02-25-2009, 08:13 PM   #160
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U2 never made a 'reliable commercial' album, that's Kylie Minogue for god's sake.
Kylie Minogue always sucked so I never cared. But when the band I love released something as contrived and derivative as HTDAAB it broke my heart. Kylie innovates more than that crap.
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Old 02-25-2009, 08:26 PM   #161
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2 stars negative review from Eyeweekly.com

U2: No Line on the Horizon - EYE WEEKLY

Quote:
“The right to be ridiculous is something I hold dear,” Bono sings on No Line on the Horizon’s best song, the unfortunately titled but otherwise exceptional “I’ll Go Crazy if I Don’t Go Crazy Tonight.” But sadly, that line — an early entry, perhaps, in the contest for 2009’s Most Mind-Numbingly Obvious Statement of the Year — proves sadly misleading for the rest of the record. If anything, Horizon, produced with the Joshua trio of Eno, Lanois and Lillywhite, isn’t ridiculous enough. Gone are the disco balls and devil masks of the Zooropa era, not to mention the killer tunes, which have been displaced by more of the ersatz earnestness that’s been the band’s stock-in-trade since “Beautiful Day.” That’s not to say U2 are out of the pop-song business altogether: the handful of keepers here, like the genuinely euphoric “Crazy,” at least remind us that the band are still capable of greatness — and great ridiculousness. But it’s not enough. Who ever bought a U2 record for its subtlety?
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Old 02-25-2009, 09:33 PM   #162
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But it’s not enough. Who ever bought a U2 record for its subtlety?
*chuckle* Guess they don't dig much pass the surface do they.
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Old 02-25-2009, 10:13 PM   #163
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(From the Chicago Tribune, 3/5 stars)
Album review: U2's 'No Line on the Horizon' | Turn It Up - A guided tour through the worlds of pop, rock and rap

Album review: U2's 'No Line on the Horizon'
On its latest album, “No Line on the Horizon” (Interscope), U2 sounds like a band trying to shrug off years of staleness.

The Irish quartet is once again in transition, uncertain of its destination, and producing some fascinating music along the way. Five of the 11 tracks sound as fresh as anything U2 has done in a decade. The rest isn’t nearly that good, putting this in the middle tier of the band’s dozen studio releases. But at least the band is trying to reconnect with the sense of yearning and mystery that once made it special.

It’s hard to be mysterious when you’re the biggest band in the world. But that sense of mystery is key to U2’s sound; their fondness for atmosphere forged a new kind of stadium rock in the ‘80s, epic yet somehow intimate, then embraced even deeper undercurrents on their ‘90s masterpiece, “Achtung Baby!”

That adventurousness was largely missing from the previous two U2 studio albums, “All That You Can’t Leave Behind” (2000) and “How to Dismantle an Atomic Bomb” (2004). These were “back to basics” gambits, as predictable as a late-period Rolling Stones album and drained of surprise. Play these albums now and they sound like calculated, inferior versions of the band’s callow but ecstatic early-‘80s releases.

Nonetheless, the albums served a broader commercial purpose. They reassured fans who had strayed from the band through its ‘90s experiments, and helped U2 fill arenas around the world. But the Irish quartet had lost something crucial in trying so desperately to connect with iPod nation. Everything sounded too pat; calculation had trumped inspiration.

“No Line on the Horizon” tries to restore what’s missing by pulling things apart and letting the songs breathe. The band has reconnected with its two most trusted collaborators, Brian Eno and Daniel Lanois, and given them an even greater role. They not only coproduce the album, but play some of the music and share in the songwriting.

The songs have become more amorphous; five stretch past five minutes. The melodies reveal themselves more reluctantly, and the layers undergirding them teem with ambiguity. At times it’s uncertain who or what instrument is creating the sounds heard on several tracks; Larry Mullen shifts between live drumming and programmed beats and keyboards mesh with guitars in a thick ambient mist. Only Adam Clayton’s bass retains its singular personality; its prominence in the mix makes him the album’s most valuable player, as he pushes the songs forward with a mixture of elegance and supple power.

The first three songs point a way forward. On the title track, melancholy synthesizers drift across the horizon like distant jets, playing counterpoint melodies over a thick stew of rhythm. Bono’s voice sounds appealingly frayed, caught up in the whirl of sound around him. “Magnificent” lurks in the shadows for a minute, then breaks into a gallop over the Edge’s ringing guitar and Clayton’s bounding bass. It’s a quintessential U2 moment: Big and yet somehow vulnerable. “Moment of Surrender” completes the journey, and lays out one of the album’s key themes: “Two souls too smart to be in the realm of certainty.” Nothing can be taken for granted. Anxiety hovers like the organ chords draped over Bono’s patient vocal melody. Once again Clayton’s bass serves as an empathetic foil, standing just off the vocalist’s shoulder, answering his every line.

At its best, “No Line…” is about sonic drama. “Let me in the sound, meet me in the sound,” Bono demands on at least two tracks. But in the middle of the album, U2 loses its nerve, and rapture gives way to formula. It’s as off the band were hedging its bets, knowing it needed a couple of stadium-ready songs when it visits the worlds sports arenas later this year.

Producer Steve Lillywhite strays from the evocative blueprint laid out by Eno and Lanois, and swaths the band in conventional pop sweetness (“I’ll Go Crazy if I Don’t Crazy Tonight”) and bluesy bombast (“Breathe”). “Get on Your Boots” flails around in search of a melody, and “Stand Up Comedy” is a bad marriage of neo-funk and riff-rock. “Unknown Caller” aspires for classic U2 grandeur, but trips on robotic vocal harmonies. “Cedars of Lebanon” ends the album with a whimper, Bono murmuring like Frank Sinatra in the wee small hours of the morning over a hushed backing track.

Amid this desultory finish, U2 tucks two exquisitely realized pieces of music. “White as Snow” is as still as a winter landscape painting. It imagines the final words of a soldier dying in Afghanistan, appropriating the stately melody of the 12th Century hymn “Oh Come, Oh Come Emmanuel.”

“Fez—Being Born” evokes an exotic marketplace in an impressionistic, multi-part arrangement. It contains only a handful of lyrics, but takes the listener on a headphone-worthy journey from the outskirts of a Moroccan city into its bustling heart, before drifting out to a sea of dancing lights. It’s a mesmerizing song, a series of surprises that unfolds like a great mystery, and then recedes before its secrets are fully revealed.

greg@gregkot.com

Rating: 3 stars
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Old 02-25-2009, 11:50 PM   #164
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at this point, the rest of the world is much like Interference.

everyone now has an idea of what the ideal U2 should be -- 1992, or 1987, or 2001. no one is unaffected by their music. everyone has an opinion. and no one is going to be satisfied unless they meet the band where they are in this particular point in time. i'm struck at how much the reviews reference the past.

they have to deal with the weight of their own legacy at this point. no small task.
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Old 02-25-2009, 11:54 PM   #165
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Little did U2 know. Their biggest enemy...
...Would be themselves!

DUN DUN DUNNNN!
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