This is the best U2 album since......
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Zoomerang96
ONE love, blood, life
No Line on the Horizon, which is significantly more interesting than this album.
Speaking of interesting, this album doesn't scream "sell out" the way some (including myself) derided some of the band's earlier work. In terms of song structure there are some new ideas from U2 here which is really nice to see.
... But that's about it. The execution, particularly the first half is abysmal. People can disagree with that of course, but I remember when "Get on your boots" was released, people were creaming their pants saying how amazing it was. "The song that Vertigo should have been", etc.
Well, it's probably pretty safe to say that nobody listens GOYB anymore because most agree it's awful. That's what The Miracle is to me. A grotesque perfect balance of all things that annoy me about U2 in recent years - the over-reaching "ooh's and ahhs" and the pound-you-over-the-head guitars and drums that try to scream "look we're still fresh and relevant!"
On the other hand, from the Metro's review:
"In its quieter moments, when they’re not desperately trying to recapture that youthful over-ambitious zest that became their trademark, U2 show they are still a musical force to be reckoned with."
I agree with this, and it leads me to my two part conclusion.
1. U2 in their more quiet and subtle ventures come off far more convincingly and maturely than they do when they're trying desperately to make stadium anthems. U2 should probably be aware that songs become anthems because they're good - not because they're loud.
2. Also taken from the Metro: "Songs of Innocence is allegedly the sound of U2 trying to recapture their youth (hasn’t every U2 album since 1987 been that?)..."
Why is it automatically a good thing to recapture your youth, musically speaking? If you've been there and done that, then why do U2 think their listeners need to hear about it again? For me, on a personal level I've always appreciated their ambition when they tried new things. But the themes have been more or less the same since 2000, in that they're always seeming to harp about "returning to their roots" or "going back to their youth".
It doesn't work for me. Maybe I'm just not interested in this kind of music anymore, I don't know. But after appreciating their previous album the most since Pop I was really looking forward to this, especially considering that Invisible was a pretty good tune.
Highlight of the album: The Troubles. It's mostly subtle by U2 standards and yet it is absolutely beautiful for reasons anyone who's ever going to listen to it will tell you.
Speaking of interesting, this album doesn't scream "sell out" the way some (including myself) derided some of the band's earlier work. In terms of song structure there are some new ideas from U2 here which is really nice to see.
... But that's about it. The execution, particularly the first half is abysmal. People can disagree with that of course, but I remember when "Get on your boots" was released, people were creaming their pants saying how amazing it was. "The song that Vertigo should have been", etc.
Well, it's probably pretty safe to say that nobody listens GOYB anymore because most agree it's awful. That's what The Miracle is to me. A grotesque perfect balance of all things that annoy me about U2 in recent years - the over-reaching "ooh's and ahhs" and the pound-you-over-the-head guitars and drums that try to scream "look we're still fresh and relevant!"
On the other hand, from the Metro's review:
"In its quieter moments, when they’re not desperately trying to recapture that youthful over-ambitious zest that became their trademark, U2 show they are still a musical force to be reckoned with."
I agree with this, and it leads me to my two part conclusion.
1. U2 in their more quiet and subtle ventures come off far more convincingly and maturely than they do when they're trying desperately to make stadium anthems. U2 should probably be aware that songs become anthems because they're good - not because they're loud.
2. Also taken from the Metro: "Songs of Innocence is allegedly the sound of U2 trying to recapture their youth (hasn’t every U2 album since 1987 been that?)..."
Why is it automatically a good thing to recapture your youth, musically speaking? If you've been there and done that, then why do U2 think their listeners need to hear about it again? For me, on a personal level I've always appreciated their ambition when they tried new things. But the themes have been more or less the same since 2000, in that they're always seeming to harp about "returning to their roots" or "going back to their youth".
It doesn't work for me. Maybe I'm just not interested in this kind of music anymore, I don't know. But after appreciating their previous album the most since Pop I was really looking forward to this, especially considering that Invisible was a pretty good tune.
Highlight of the album: The Troubles. It's mostly subtle by U2 standards and yet it is absolutely beautiful for reasons anyone who's ever going to listen to it will tell you.
Yahweh_OMG
New Yorker
Apparently the guy who wrote the Metro article about "U2 trying to recapture their youth since 87" hasn't heard AB, Zooropa and POP..... poor him.
AEON
Rock n' Roll Doggie Band-aid
After about a dozen listens - I have to say, right now, it's my favorite since Achtung Baby.
We shall see where it eventually lands after I burn it out - put it away for weeks/months - then dust it off to hear it again.
We shall see where it eventually lands after I burn it out - put it away for weeks/months - then dust it off to hear it again.
Zoomerang96
ONE love, blood, life
That's a fair point in itself, but he'd have been spot on if he had said "since 2000's All That You Can't Leave Behind".
womanfish
Rock n' Roll Doggie ALL ACCESS
I find NLOTH an interesting album as well. What I like from it, I really like a lot. I just think that there was too much dragging it down to be an album I would rank too highly.
I think ATYCLB was them trying to go back to their roots (not really my thing)
and Bomb sounded like trying to recapture their youth (didn't work well for me)
NLOTH, was a mishmash. Great, mature, different stuff, but also dreadful crap.
This album, is different. Very bright and energetic while keeping a heavy undertone.
I completely agree that their quieter moments work better for me too (Although I love Volcano)
But I disagree with the Metro review. I finally don't hear them consciously trying to recapture anything. (ok, maybe Miracle withstanding).
I hear a genuine youthfulness in Bono's voice and delivery. Tones I haven't heard since the October/War era. And it sounds real, not forced.
I am actually really surprised you like Invisible. I would put 9 of these songs well above Invisible. Invisible always seemed quite bland and forced to me. Glad it didn't make the cut.
Zoomerang96
ONE love, blood, life
Now there's a blast from the past! Womanfish, always a pleasure.
Nice review of things. I see what you're saying with most of it, and I don't disagree with a whole lot.
With this album, it just might come down to simply not being my thing on a personal level. No fault of its own, of course. Just me not being interested in this kind of music.
... Although even that isn't entirely correct. I think what puts me off the most is Bono's direct lyrics. Everything sounds like a soundbyte to me... borderline cliche. Clearly that's not fair in a general sense, but to me that's all I hear. He has this ability to make even the most original phrase sound over-rehearsed and contrived.
womanfish
Rock n' Roll Doggie ALL ACCESS
Ha! Yes, good to see you again as well. I've been posting again for the last month or so here. Must say I was one of the few that insisted there would be an Apple tie in and they would release the album on the 9th.
Anyway, I agree that Bono's lyrics in the ATYCLB and beyond period have not sit as well with me. But I felt that most of the songs on here avoid it pretty well. I think Cedarwood Road is marred by the lyrics unfortunately. I really felt this way about invisible and OL. Just couldn't get past the lyrics and delivery.
Here, there is some freshness and uniqueness that makes a lot of it work again. I think his delivery in EBW is fantastic, Volcano is great, Sleep is also well delivered and The Troubles is perfection.
I understand about not liking it, just being in a different place musically. That's how I have felt with them for a while now, but something about this is capturing me again. Maybe Songs of Experience will be better for you.
rjhbonovox
Refugee
- Joined
- Nov 1, 2002
- Messages
- 2,139
Is this the music that U2 honestly want to make OR is it the music they think that people want them to make? Apart from a couple of tracks, baby being one of them, it just sounds so safe and comfortable. Its not crap by any means but in 5 years time most of these tracks will be forgotten.
purpleoscar
Rock n' Roll Doggie ALL ACCESS
I would probably wait a while and see which songs stick with you, if any. Then check out the sequel album and see if this "chasing youth" thing is really true. I would also look at U2's first three albums and see if some of the themes/stories from this album help explain and fill out the influences and personal tragedies that were only hinted at.
I don't really hear safe on this album at all apart from maybe EBW and song for someone
Funny, that's what I thought about ATYCLB and the woeful HTDAAB. Haven't listened to either in years all the way through. This album is a real ALBUM in ways the last 3 weren't. As for "music they think that people want them to make" , I think Crazy/GOYB/SUC is more along that line, and they were terrible.
To me this album sounds like they are not trying as hard to get a "hit" or to be "relevant" and just making music they like.
A song like "California" for example just sounds like they're having fun. Filler to a degree, but good filler. Unlike say "Wild Honey" which was just cheese through and through.
SlowDancingLemon
Babyface
This is an album that I had really thought this band could not make any more. Best since the 123 of baby,zooropa,and pop. I liked a lot of the other albums but there were some right duds in there. There is a lot going on here. Bono sounds like 30 years ago at times. This album as it moves on gets darker and darker as we progress. Troubles is an apt closer for the album if as suggested that there is something else coming quickly behind. Do you like the Angelus at the start of California......the auld catholic boys heading out to California
SBU2
War Child
Still early days of course, but most certainly the most solid as a whole, since All That You Can't Leave Behind.
Would be perhaps fair to say the band had declined slightly from ATYCLB onwards, with regards to new material as a whole, and after a five year break from the failure of No Line, my expectations were incredibly low for this album. Like every fan, I wanted to hear new material, but part of me was worried it would be, like No line, below-par, and in doing that, they'd only ruin their reputation even more, so part of me was also questioning whether they should call it quits on the back of one last tour next summer, and forget releasing a new album...
Then last night arrived. Firstly, a live performance of The Miracle. It was great to see the band back performing, looking fresh and ready for it, but like others, I feel The Miracle is one of the weakest tracks on the album, and as a result, I came away from the performance feel underwhelmed, and questioning whether my initial fears of them delivering another below-par album were about to come true. However...
From the second Everything Breaking Wave finished, upon my first listen of the album, them fears were suddenly completely gone. I hadn't heard a song from U2 that was so fresh, current, and different since...well I can't even remember. It's an instant hit. Not just a U2 hit, but it could easily be a mainstream hit, if released as a single, and hopefully, the first single.
The whole album is just incredibly solid. Though I agree with some comments made about the entire tempo of the album being somewhat similar, I don't see that as a negative. It's just hit after hit, from mid-tempo to fast-tempo hits, and it's just bloody brilliant. Quite literally took my breathe away upon first listening. It's what a U2 album in the current world of music should sound like. It's everything that No Line should have been, and more. This isn't an album where their attempting to re-invent their old sound, or re-capture, but a U2 taking a new, brave direction. Almost as if to say, if this is our last, or the first of two last albums, then we may aswell go out knowing we took 'that' risk, with regards to new a direction of sound.
They've made a great U2 album, without particularly sounding like the U2 we know. To put it simply, they found the perfect balance with this album. Some may claim it's an attempt at delving into the mainstream too much with some of the sounds, i.e The Killers and One Republic references, but my days, we're in 2014. Nobody wants to hear their attempt at another Vertigo or Beautiful Day, like Boots & Crazy Tonight were respectively. Their with the times, and have produced an album that can easily be a hit today, amongst the general public. That's where No Line failed for me. It was different yes, but the overall sound, or album as a whole, just didn't feel like it could hold up in the industry of today. That's a rather crappy way of putting it, but you see my point.
Whether my like for the new album will be as strong come Christmas, is yet to be seen, but what won't change, is my admiration for a band in their 50's producing such a fresh sounding modern piece, that's stronger than their past two albums, perhaps three.
Would be perhaps fair to say the band had declined slightly from ATYCLB onwards, with regards to new material as a whole, and after a five year break from the failure of No Line, my expectations were incredibly low for this album. Like every fan, I wanted to hear new material, but part of me was worried it would be, like No line, below-par, and in doing that, they'd only ruin their reputation even more, so part of me was also questioning whether they should call it quits on the back of one last tour next summer, and forget releasing a new album...
Then last night arrived. Firstly, a live performance of The Miracle. It was great to see the band back performing, looking fresh and ready for it, but like others, I feel The Miracle is one of the weakest tracks on the album, and as a result, I came away from the performance feel underwhelmed, and questioning whether my initial fears of them delivering another below-par album were about to come true. However...
From the second Everything Breaking Wave finished, upon my first listen of the album, them fears were suddenly completely gone. I hadn't heard a song from U2 that was so fresh, current, and different since...well I can't even remember. It's an instant hit. Not just a U2 hit, but it could easily be a mainstream hit, if released as a single, and hopefully, the first single.
The whole album is just incredibly solid. Though I agree with some comments made about the entire tempo of the album being somewhat similar, I don't see that as a negative. It's just hit after hit, from mid-tempo to fast-tempo hits, and it's just bloody brilliant. Quite literally took my breathe away upon first listening. It's what a U2 album in the current world of music should sound like. It's everything that No Line should have been, and more. This isn't an album where their attempting to re-invent their old sound, or re-capture, but a U2 taking a new, brave direction. Almost as if to say, if this is our last, or the first of two last albums, then we may aswell go out knowing we took 'that' risk, with regards to new a direction of sound.
They've made a great U2 album, without particularly sounding like the U2 we know. To put it simply, they found the perfect balance with this album. Some may claim it's an attempt at delving into the mainstream too much with some of the sounds, i.e The Killers and One Republic references, but my days, we're in 2014. Nobody wants to hear their attempt at another Vertigo or Beautiful Day, like Boots & Crazy Tonight were respectively. Their with the times, and have produced an album that can easily be a hit today, amongst the general public. That's where No Line failed for me. It was different yes, but the overall sound, or album as a whole, just didn't feel like it could hold up in the industry of today. That's a rather crappy way of putting it, but you see my point.
Whether my like for the new album will be as strong come Christmas, is yet to be seen, but what won't change, is my admiration for a band in their 50's producing such a fresh sounding modern piece, that's stronger than their past two albums, perhaps three.
corianderstem
Blue Crack Distributor
I don't usually get involved in the "safe" discussions, but I would totally agree with this.
womanfish
Rock n' Roll Doggie ALL ACCESS
Still early days of course, but most certainly the most solid as a whole, since All That You Can't Leave Behind.
Would be perhaps fair to say the band had declined slightly from ATYCLB onwards, with regards to new material as a whole, and after a five year break from the failure of No Line, my expectations were incredibly low for this album. Like every fan, I wanted to hear new material, but part of me was worried it would be, like No line, below-par, and in doing that, they'd only ruin their reputation even more, so part of me was also questioning whether they should call it quits on the back of one last tour next summer, and forget releasing a new album...
Then last night arrived. Firstly, a live performance of The Miracle. It was great to see the band back performing, looking fresh and ready for it, but like others, I feel The Miracle is one of the weakest tracks on the album, and as a result, I came away from the performance feel underwhelmed, and questioning whether my initial fears of them delivering another below-par album were about to come true. However...
From the second Everything Breaking Wave finished, upon my first listen of the album, them fears were suddenly completely gone. I hadn't heard a song from U2 that was so fresh, current, and different since...well I can't even remember. It's an instant hit. Not just a U2 hit, but it could easily be a mainstream hit, if released as a single, and hopefully, the first single.
The whole album is just incredibly solid. Though I agree with some comments made about the entire tempo of the album being somewhat similar, I don't see that as a negative. It's just hit after hit, from mid-tempo to fast-tempo hits, and it's just bloody brilliant. Quite literally took my breathe away upon first listening. It's what a U2 album in the current world of music should sound like. It's everything that No Line should have been, and more. This isn't an album where their attempting to re-invent their old sound, or re-capture, but a U2 taking a new, brave direction. Almost as if to say, if this is our last, or the first of two last albums, then we may aswell go out knowing we took 'that' risk, with regards to new a direction of sound.
They've made a great U2 album, without particularly sounding like the U2 we know. To put it simply, they found the perfect balance with this album. Some may claim it's an attempt at delving into the mainstream too much with some of the sounds, i.e The Killers and One Republic references, but my days, we're in 2014. Nobody wants to hear their attempt at another Vertigo or Beautiful Day, like Boots & Crazy Tonight were respectively. Their with the times, and have produced an album that can easily be a hit today, amongst the general public. That's where No Line failed for me. It was different yes, but the overall sound, or album as a whole, just didn't feel like it could hold up in the industry of today. That's a rather crappy way of putting it, but you see my point.
Whether my like for the new album will be as strong come Christmas, is yet to be seen, but what won't change, is my admiration for a band in their 50's producing such a fresh sounding modern piece, that's stronger than their past two albums, perhaps three.
very well said. I wondered what "new direction" they could take. They had kinda been in that "going back to their roots" stage for a while. and while NLOTH was not going back to roots, I could still listen to it and say, that sounds like UF, like Rattle and Hum guitar, like War, Like ATYCLB... etc...
This one doesn't really do that. There is a familiarity that is there. Obviously, its U2, but it just sounds like a new fresh U2. I love it. Although Miracle is not holding up well for me, but other than that, it's lookin good!
If Songs of Experience has a similar freshness, but is darker and a little grittier. Oh man, we're gonna be in for a treat.
trojanchick99
Rock n' Roll Doggie FOB
It's way early, but for me I'd say best since Pop. I think Bono's lyrics are certainly the best since then, and I'm just a sucker for the 70's riffage all over this album. So far, there isn't a song I want to skip. The part that is most amazing is that it manages to stay cohesive even with the different producers. I can definitely tell the difference between the Danger Mouse and Tedder songs, yet they still belong.
Niceman
Rock n' Roll Doggie VIP PASS
The band who recorded Songs of Innocence is not a band ready to call it quits.
womanfish
Rock n' Roll Doggie ALL ACCESS
Interestingly, I have been listening about 12 times in a row now, and then I immediately played Invisible, thinking it may change my mind about the song and see more about it to like. And it just doesn't fit with this collection of songs. Glad it's not on here.
mama cass
Rock n' Roll Doggie VIP PASS
- Joined
- Aug 16, 2004
- Messages
- 6,293
To be fair, I think you are right. Listening to it again and it seems a bit out of place. But I would still love to have heard the other version with different lyrics - that might have been a bit more fitting with the album.
prbiker15
Blue Crack Addict
I'll have to agree. Love the song, but after playing it once the album finished, it's better off standing by itself.
morgan1098
War Child
- Joined
- Oct 12, 2006
- Messages
- 700
I never in a million years would have thought that U2 could make this kind of album collaborating with the likes of DangerMouse and Ryan Tedder. I have made many snarky comments to this effect, and I take them all back. They hit this one out of the park.
I'm among the tiny handful of people who thought NLOTH was a minor masterpiece, so I'd say this is their best since NLOTH. But if you take NLOTH out of the picture, it's the best since Pop.
I'm among the tiny handful of people who thought NLOTH was a minor masterpiece, so I'd say this is their best since NLOTH. But if you take NLOTH out of the picture, it's the best since Pop.
TIJERINO
The Fly
i dont like 'the miracle' I would have placed ''invisible'' as track 1. very much as noisy as EBTTRT or Zoo station if you like to think in an AB way.
dan_smee
ONE love, blood, life
You know, the most consistent comment on here that I read about this album is how consistent it is. "There doesn't appear to be any big hit, or song that stands out, but at least the record's consistent". That's like reviewing someone in your office and saying "They've never really excelled, but their performance is consistent".
Don't mistake me, I've called the album "even" myself, and am generally pleasantly surprised with it. I just wonder if our expectations have over time shifted so much we don't even perceive it. We used to expect transcendental, impactful anthems from U2...now we're just happy if the record's "consistent". It's like a pensioner who used to climb mountains and is now just happy if they can get up in the morning.
I don't think the analogy quite hits the mark. To make that comparison is to admit the hits and what makes hits = quality. If that was the case, Justin Beiber is the new John Lennon. (I felt physically ill writing that).
There are songs I LOVE on this album, I just know there is little that will make waves on the radio. EBW is the closest thing.
Sent from my iPhone using U2 Interference
Early feelings are best since PoP
Despite what has been said by Bono, this is a concept album that feels cohesive from beginning to end both lyrically and musically.
Does SLABT sound like a cousin to IYWYVD?
Sent from my iPhone using U2 Interference
Despite what has been said by Bono, this is a concept album that feels cohesive from beginning to end both lyrically and musically.
Does SLABT sound like a cousin to IYWYVD?
Sent from my iPhone using U2 Interference
Reggie Thee Dog
Blue Crack Addict
Not sure why Miracle is getting so much hate, it's a solid rock song. The stuttering guitar and concise lyrics really standout. It's no GOYB, nor is it Vertigo...it sounds like Fall Out Boy to me, which I think is good (depending on your opinion of FOB). The whole album sounds immediate and fresh to me...no song makes me grasp to like it (like Unknown Caller or some others on No Line). Like I said in another thread, this album is breezy and easy to like... 
Nick66
Rock n' Roll Doggie ALL ACCESS
Except, of course, I never said that. In fact, I don't think because something is a hit it's necessarily a quality song (of course), nor do I think something being quality song necessarily makes it a hit (of course).
Once again, I was merely commenting that the most consistent comment I've seen on here regarding the record is that it's consistent.
morgan1098
War Child
- Joined
- Oct 12, 2006
- Messages
- 700
You know, the most consistent comment on here that I read about this album is how consistent it is. "There doesn't appear to be any big hit, or song that stands out, but at least the record's consistent". That's like reviewing someone in your office and saying "They've never really excelled, but their performance is consistent".
Don't mistake me, I've called the album "even" myself, and am generally pleasantly surprised with it. I just wonder if our expectations have over time shifted so much we don't even perceive it. We used to expect transcendental, impactful anthems from U2...now we're just happy if the record's "consistent". It's like a pensioner who used to climb mountains and is now just happy if they can get up in the morning.
For me, "consistent" is the highest praise. Look at the liner notes... the production notes read like the end credits to a Star Wars movie. There are FIVE keyboard players on Track 1 alone! If I saw those production credits before hearing the album, I'd be expecting a train wreck.
AND YET... this album doesn't sound overproduced and uneven the way HTDAAB does. The songs are simple and direct. This doesn't sound like an album that has been fussed over and re-imagined over the course of five miserable years. It has a consistent theme and consistent production despite the fact that almost every track involves a cast of thousands.
Considering the long, difficult, ugly gestation of this album, consistent is a sign, one of many, of its greatness. I'm not sure who should get credit for this--the band, Ryan Tedder and Danger Mouse, Guy Oseary, or ????
Maybe God really did walk into the room this time.
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