NLOTH Album Reviews Pt 3

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thefly1979 said:
it´s a good one. like it. by the way, i´ve read the brit awards blog from the NME last night and their editor meant that "no line on the horizon" is "actually, their worst" album. could that mean that the NME will a harsh critic? and give NLOTH a 3 ?
otherwise, i don´t care about the NME.
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I don't believe it, NME has written a very positive article this week. I never read that mag and only found it because of the U2 article. That one didn't sound as if they would give the album a bad rating.
 
TheEnd said:
White as Snow really seems to be a song that a lot of fans are panning. I get chills whenever I listen to it -- it's soul crushing. Is it possible that many fans don't know the context (song lasts the length of time it takes a soldier in Afghanistan to die and the song is about him looking back over his life and the choices he made) ?

I guess I'm just drawn to the darkness of this song and some people just don't like the dark underbelly. Anyone have any thoughts on this? Is it purely a musical problem that the lyrics/concept can't overcome? (I happen to love the simple and stark music BTW).
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:up:
 
Here's the exact NME quote:

"Sexy boots! It's U2, kicking off proceedings with the lead single from 'No Line On The Horizon'. "Their greatest album," according to Q. Actually, it's easily their worst."

Yeah, well, you know, that's just, like, your opinion, man. ...
 
I don't think that means anything for the NME review, that's just one guy's opinion, plus he might have been part joking, part trying to look like a smart-ass, which is what most British journalists do on blogs :shrug:

The fact that they wrote a very positive feature also does not mean they'll give a good review of the album. We'll just have to see, but this guy sounds like he hasn't actually heard the album, does not like Boots, and did the usual U2-bashing-in-order-to-look-cool thing, that's all.

I'm expecting a few not so glowing reviews because that's normal (we had some already), but I'd be very, very surprised if any important music publication calls this album U2's worst.
 
So hang on NME come into the bands studio, suck right upto them, trying to be all pally etc etc, and then say its their worst album?
 
The guy blogging for the show was Luke Lewis. If he's the guy writing the NLOTH review, then fine. If not, he's just a blogger spouting an opinion.
 
Be interesting to see, i mean these people dont have the bollocks to say it to the bands faces (they called the GOYB video amazing in the magazine) and pretend to be all pally, then all of a sudden you see a comment like that?
 
I'm not someone who thinks music criticism is necessarily subjective and/or a worthless pursuit, but the almost all the albums we think of as "classic" today received some negative reviews when the first came out. Didn't RS give "Nevermind" like 2 1/2 stars back in '91? Now they consider it one of the best albums of all time. It usually takes awhile for an album to be considered great.
 
Lemonfix said:
I'm not someone who thinks music criticism is necessarily subjective and/or a worthless pursuit, but the almost all the albums we think of as "classic" today received some negative reviews when the first came out. Didn't RS give "Nevermind" like 2 1/2 stars back in '91? Now they consider it one of the best albums of all time. It usually takes awhile for an album to be considered great.
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Three stars, yes. Same with UF. They also gave Weezer's Pinkerton album two stars, and ended up changing it to 5 stars.

This review of After The Gold Rush (a truly classic album by every definition) never fails to crack me up:

Neil Young: After The Gold Rush : Music Reviews : Rolling Stone
 
U2 - No Line On The Horizon - Premature Evaluation - Stereogum

We've been tough on No Line On The Horizon because, to be fair, "Get On Your Boots" is a bad song and the guys are performing it everywhere (and everywhere UK), so it's become the flagship representative of U2's twelfth album. But, no, it's not the entire thing -- there are ten other tracks on it; ten more chances for Bono & Co. to avenge their good name(s). Rolling Stone gave it five stars. There's no way we'll go that far, but we did approach listening to it with open minds, leaving our preconceptions and prejudices against lame lyrics (mostly) at the door. For instance, maybe releasing "Boots" was a bait and switch -- you know, offering up the worst song first so folks would be pleasantly surprised once they heard the whole shebang. Good news U2 fans: It is the album's worst song! Bad news U2 fans: There are close seconds.

Not all of No Line was a surprise: We'd heard those preview clips and the title track in its entirety. "No Line On The Horizon" is a more than serviceable opener, though -- to use a Bono-esque simile -- hearing Bono sing a love song at this point is akin to watching a mannequin try to put the moves on its shadow. At least we think it's a love song. It's hard figuring out just what this means: "I know a girl who's like a sea / I watch her changing everyday for me ... / One day she's still, the next she swells / I can hear the universe in her seashells, oh yeah." She also puts her tongue in his, or his character's, ear. One of No Line's main problems is that the vocals are mixed so loud and clearly that you have to deal with each and every one of these clunkers. Bono was better when simply aiming to fill stadiums with his voice and not trying to stuff each line with some kind of pseudo-intellectual or poetic meaning. When he chants those "oh"'s in the middle of the song, it's triumphant. Which makes it hard to comprehend why neither Brian Eno, Daniel Lanois, or Steve Lillywhite figured out it'd be best for Bono to obscure his lyrics a bit, maybe increase the drums and distorted guitars in the mix. For instance, "Magnificent," a perfectly respectable, catchy mid-tempo U2 rocker that gives us a nice guitar texture from the Edge and Bono shouting to the cheap seats "I was born to sing to you." Definitely one of the album's strongest.

It's followed by the lumbering "Moment Of Surrender." Sometimes you get the sense that the band is trying to follow the gray color palette of Hiroshi Sugimoto's black and white cover photo too closely, as on the bland drum beat and synth wash that backs Bono's soulful Meatloaf-esque exorcism on this almost 8-minute snore. The storyline isn't strong enough to carry it that far, but we do get bits of Bono wisdom: "Playing with fire until the fire played with me, mmmmm mmmm" "the stone was semi-precious / we were barely conscious," "I was pushing in the numbers at the ATM machine / I could see in the reflection a face staring back at me," etc. Really? "Unknown Caller" is almost as long, but makes good use of a group-chanted chorus: "Restart and reboot yourself, you're free to go." Very Pet Shop Boys, guys. Also, it works.

"I'll Go Crazy If I Don't Go Crazy Tonight" is somehow reminiscent of Verve in its bridges, but then there's the "Fight For Your Right To Party 2009" chorus. More importantly: "She's a rainbow and she loves the peaceful life / Knows I'll go crazy if I don't go crazy tonight / There's a part of me in the chaos that's quiet / and there's a part of you that wants me to riot / Everybody needs to cry or needs to spit / every sweet tooth needs just a little hit..." Please keep all this sage advice in mind the next time you know you'll crazy if you don't go crazy tonight. Again, decent song, bad lyrics.

Then we get to the centerpiece "Boots," followed by a track that's almost as bad: "Stand Up Comedy" takes "Boots" attempt at funkiness and piles on generic rock guitar riffs and more horrific one-liners like "stand up to rock stars / Napoleon is in high heels / Josephine do you care for a small man with big ideas." At the end of the song, it turns out we should mostly just stand up for love, but not before seeing his ego compared to "a small child crossing an eight-lane highway on the voyage of discovery." Of course.

Finally, the good better news: The album wraps up with four decent tracks. "Fez - Being Born" opens with ambient cut and paste that recycles "Boots"'s "let me in the sound..." and feels like ghostly cocktail music until the song itself starts, another pleasant anthem cut in the same general cloth as "Magnificent": To the rafters chorus, propulsive instrumentation. All the electronic squiggles are pretty unnecessary, but so goes it when old bands try to remain relevant (hello, Axl).

"White As Snow" is a scaled down ballad -- that blooms and makes a nice, understated use of horns and marching band snare -- wherein Bono manages to weave a more interesting narrative. "Breathe" picks up the pace, one of the first speedier rockers in the realm of "Boots" or whatever that actually works: Old-school style U2 with some slight Gospel-esque backup vocals. The album closes out with the at first faint, almost Fennesz drones of "Cedars Of Lebanon." After 40 seconds, drums and Bono enter the picture. Here he sings with an almost spoken-word intonation ... in fact, it wouldn't be strange to reference Daniel Lanois-produced Dylan (less so Lanois-produced U2, if that make sense). It's a nice exit dance, where the spooky background accents make sense.

In the end, some of No Line On The Horizon works (especially that last part of the record) and too much of it doesn't. The production team was excited to let us know that U2 reinvented themselves again, but by and large it's the deviations from their classic sound that suck the life out of the record. Not always, but far too often. Along that line, the strongest material emerges when the band plays it safe, does what they do best, and creates anthemic arena rock.

Don't forget U2's upcoming Letterman residency. At least they'll have to play more than "Get On Your Boots."

No Line On The Horizon is out 3/3 via Interscope.
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U2’s No Line on the Horizon Leaks, (sort of) Delivers

For those of you waiting with bated breath, U2's No Line on the Horizon has finally leaked. The verdict: a slower, slightly scattered, mix of come-one-come-all sloganeering – it’s U2 after all – chugging riffage, and post-Pop genre experiments, treated in typically epic Brian Eno/Daniel Lanois fashion. Bono and the gang are still reaching for grand, contemporary statements – love, life, the Internet, and all – but seem a bit hung over from five years of humanitarianism.
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TheEnd said:
How does NME do reviews? Is a single reviewer or is it a staff/editor affair.

That might (edit: not) be the guy that will write the review.
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we shouldn´t care about NME. i don´t give a s... about their reviews. because they don´t know anything about music. it´s just about to hype acts and leave the behind when a new one is coming up.
 
purpleoscar said:
Yeah that's interesting. Everybody wants something from U2 and if they don't get it they get let down. Expectations kill music.
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they are still the biggest band in the world and i´ve listned to coldplays new, NLOTH and those one from kings of leon in one playlist and a row at the moment. which is a real good listen at all. good music from three acts..but coldplay and kings of leon are heavy influenced by U2.

but U2 also changed their sound at the new album and i think that this could be a problem for many fans and those who are have so strong memories connected with that band.

over all and if i compare them with other "mega acts" their come back was the best one. because they didn´t play safe at all.

and sure, expectations kill music.
 
Here's another review (of sorts), from the Edmonton Sun. It leans towards the positive, but doesn't come down on one side or another. Sorry if this has already been posted.

Key quote:

"...it's a murkier, moodier and more meditative work that tempers the band's anthemic tendencies with plenty of electronics, strings and spacious sonics. It's not quite as wussy as last week's leaked clips suggested. But it's not quite the reinvention that Lanois claimed either.

Either way, we get the feeling the band might be drawing a line in the sand with this one -- now they have to wait and see where the fans land."
 
Chrisedge said:
Join date Aug 2000 Posts 2...We look forward to your next post in 2018....:)
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you get one sooner,

its seems like that was the last time U2 actually had an impact on me.

I listened to the album all day. And the only thing stuck in my head is "force quit, move to trash, and reboot yourself" ....

where is the emoticon for an eyeroll?
 
ny_atom said:
Either way, we get the feeling the band might be drawing a line in the sand with this one -- now they have to wait and see where the fans land."
Click to expand...

I would agree with that. And judging by the fact that the middle three tracks take up 50% of the vote on the ‘Worst Track’ poll, it appears the fans might send the right message.

I’ve got a bit of a nagging sense of what might have been. That we know they’ve shifted the album a bit, that they’ve got another one perhaps up their sleeve and that some of those songs could have been on this, does nag a little. I think the ‘pop-rock break’ in the middle is great, and it totally works, but I also have a feeling at the end of Unknown Caller – I just want to leap off the abyss right there. I’m right there about to leap, and I get pulled back. It’s fine, pulling back works, but I do hope that they didn’t have a leap there and that a little bit of 00s caution or last minute stage fright changed that around. There’s just a feeling there to me, that the first four songs so successfully pull you in, that they could grab your hand at that moment and take you anywhere, and everyone would follow, that they didn’t need to take that step back from the edge right there and then if they had the choice. Maybe they weren’t leaping off anyway, and I really hope that’s the case, because if they did, and did it well, it’s probably the difference between this album sitting below and/or matching their absolute highest heights.
 
Earnie Shavers said:
I would agree with that. And judging by the fact that the middle three tracks take up 50% of the vote on the ‘Worst Track’ poll, it appears the fans might send the right message.

I’ve got a bit of a nagging sense of what might have been. That we know they’ve shifted the album a bit, that they’ve got another one perhaps up their sleeve and that some of those songs could have been on this, does nag a little. I think the ‘pop-rock break’ in the middle is great, and it totally works, but I also have a feeling at the end of Unknown Caller – I just want to leap off the abyss right there. I’m right there about to leap, and I get pulled back. It’s fine, pulling back works, but I do hope that they didn’t have a leap there and that a little bit of 00s caution or last minute stage fright changed that around. There’s just a feeling there to me, that the first four songs so successfully pull you in, that they could grab your hand at that moment and take you anywhere, and everyone would follow, that they didn’t need to take that step back from the edge right there and then if they had the choice. Maybe they weren’t leaping off anyway, and I really hope that’s the case, because if they did, and did it well, it’s probably the difference between this album sitting below and/or matching their absolute highest heights.
Click to expand...

Hi Earnie. Is this album the improvement on ATYCLB/Bomb you were hoping for?
 
Earnie Shavers said:
I would agree with that. And judging by the fact that the middle three tracks take up 50% of the vote on the ‘Worst Track’ poll, it appears the fans might send the right message.

I’ve got a bit of a nagging sense of what might have been. That we know they’ve shifted the album a bit, that they’ve got another one perhaps up their sleeve and that some of those songs could have been on this, does nag a little. I think the ‘pop-rock break’ in the middle is great, and it totally works, but I also have a feeling at the end of Unknown Caller – I just want to leap off the abyss right there. I’m right there about to leap, and I get pulled back. It’s fine, pulling back works, but I do hope that they didn’t have a leap there and that a little bit of 00s caution or last minute stage fright changed that around. There’s just a feeling there to me, that the first four songs so successfully pull you in, that they could grab your hand at that moment and take you anywhere, and everyone would follow, that they didn’t need to take that step back from the edge right there and then if they had the choice. Maybe they weren’t leaping off anyway, and I really hope that’s the case, because if they did, and did it well, it’s probably the difference between this album sitting below and/or matching their absolute highest heights.
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This is one of the best takes I've read so far, and I'm someone who thinks Get On Your Boots is a great song anyway.

But Crazy Tonight has me going :doh: and thinking "Really? We're back to this stuff again?"
 
Earnie Shavers said:
I would agree with that. And judging by the fact that the middle three tracks take up 50% of the vote on the ‘Worst Track’ poll, it appears the fans might send the right message.

I’ve got a bit of a nagging sense of what might have been. That we know they’ve shifted the album a bit, that they’ve got another one perhaps up their sleeve and that some of those songs could have been on this, does nag a little. I think the ‘pop-rock break’ in the middle is great, and it totally works, but I also have a feeling at the end of Unknown Caller – I just want to leap off the abyss right there. I’m right there about to leap, and I get pulled back. It’s fine, pulling back works, but I do hope that they didn’t have a leap there and that a little bit of 00s caution or last minute stage fright changed that around. There’s just a feeling there to me, that the first four songs so successfully pull you in, that they could grab your hand at that moment and take you anywhere, and everyone would follow, that they didn’t need to take that step back from the edge right there and then if they had the choice. Maybe they weren’t leaping off anyway, and I really hope that’s the case, because if they did, and did it well, it’s probably the difference between this album sitting below and/or matching their absolute highest heights.
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I absolutley agree. I do like these three songs, but it pulls the album back.

It's like swimming in the ocean, with all the exhilaration and struggle when your senses are overwhelmed.....and then getting out to splash around in the pool.

If they put three of these new "pilgrimage" songs on the album (providing they're actually good, of course!), it could have taken down AB, I think.

I love the album, though! Its absolutely wonderful. I think it stands as their third best though, only slightly behind JT.
 
Earnie Shavers said:
I would agree with that. And judging by the fact that the middle three tracks take up 50% of the vote on the ‘Worst Track’ poll, it appears the fans might send the right message.

I’ve got a bit of a nagging sense of what might have been. That we know they’ve shifted the album a bit, that they’ve got another one perhaps up their sleeve and that some of those songs could have been on this, does nag a little. I think the ‘pop-rock break’ in the middle is great, and it totally works, but I also have a feeling at the end of Unknown Caller – I just want to leap off the abyss right there. I’m right there about to leap, and I get pulled back. It’s fine, pulling back works, but I do hope that they didn’t have a leap there and that a little bit of 00s caution or last minute stage fright changed that around. There’s just a feeling there to me, that the first four songs so successfully pull you in, that they could grab your hand at that moment and take you anywhere, and everyone would follow, that they didn’t need to take that step back from the edge right there and then if they had the choice. Maybe they weren’t leaping off anyway, and I really hope that’s the case, because if they did, and did it well, it’s probably the difference between this album sitting below and/or matching their absolute highest heights.
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Couldnt agree more. although i think Boots fits a lot nicer than Crazy Tonight and Stand Up. Apart from those two tracks, this is a very solid album. I find it strange that they had Lillywhite produce some tracks (are the both his?) And I know that hes been important to U2's success, but hes too safe. They stand out like sore thumbs compared to the denseness of the rest of the album. Hate to say it, but I hope they leave him out of the process next time around. U2 + Eno + Lanois = Musical Transcendence
 
Dragonfave said:
U2 - No Line On The Horizon - Premature Evaluation - Stereogum
Click to expand...


this is a preposterously bad review. all they talk about is how they don't like the lyrics, totally oblivious to the fact that the reviewer is a shitty writer.



U2’s No Line on the Horizon Leaks, (sort of) Delivers
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this, however, gets closer to the problem that the album faces. Bono is extremely polarizing, and you get the feeling his humanitarian work has jumped the shark. it's too bad, because he's a major reason why the only good thing to come out of the Bush administration is increased aid to Africa, and he's pretty great on the album. his lyrics get clumsy, but when they're good on this album, they're really good.
 
NLOTH Streaming on Myspace...

not sure where to post this so sorry if it's somewhere else..


February 19, 2009
posted by: Tassoula

@U2 reader Jim alerted us to the Entertainment Weekly's PopWatch blog,
which reports that U2 will make their new album No Line on the Horizon
available to fans via live stream free of charge on their MySpace page
tomorrow at 5:00 a.m. ET.

So those of you who have resisted the urge to download by way of the
leak—here's a chance to have a listen with the band's blessing.
Click to expand...


hahaha after all this leakage.. Looks like the guys may have been reading the boards...:hmm:
 
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