All critical, "professional" reviews of SOI here, Pt. 2

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God Part III said:
Not really a review is it?
Insightful piece though, except I think he forgets to underline how elegantly lyrics like One and With Or Without You are open to several interpretations.

And he speaks quite favourably of the new album actually...

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Just reading that article about one. Isn't one about a father and son relationship. The son has aids and is trying to come to terms in telling his father?


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rennowba said:
Just reading that article about one. Isn't one about a father and son relationship. The son has aids and is trying to come to terms in telling his father?


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That is merely one of the interpretations that is common.

I believe the only thing the band has ever said about One is a comment the Edge made that it was "about breaking up."
 
Once the controls for the album are ceded (mostly) to Danger Mouse, the album really starts to cook. The last five songs are the best batch of material U2 have played a part in for a decade, at least, with scintillating uses of electronics and The Edge pulling out some of his finest guitar tricks (on “Cedarwood Road” he ably slides from fractured post-punk to sleek pop smoothly, and he cuts through “Sleep Like A Baby Tonight” with notes that feel like they fracture into shards the second they leave his amplifier). For about 25 minutes, all four men sound energized, challenged and, dare I say it, like they’re having fun. I’d say this bodes well for the future of a band that is closing in on its 40th birthday together. Other legacy acts of their ilk should be so lucky.

I like it!


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rennowba said:
Once the controls for the album are ceded (mostly) to Danger Mouse, the album really starts to cook. The last five songs are the best batch of material U2 have played a part in for a decade, at least, with scintillating uses of electronics and The Edge pulling out some of his finest guitar tricks (on “Cedarwood Road” he ably slides from fractured post-punk to sleek pop smoothly, and he cuts through “Sleep Like A Baby Tonight” with notes that feel like they fracture into shards the second they leave his amplifier). For about 25 minutes, all four men sound energized, challenged and, dare I say it, like they’re having fun. I’d say this bodes well for the future of a band that is closing in on its 40th birthday together. Other legacy acts of their ilk should be so lucky.

I like it!


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:up:
 
rennowba said:
Once the controls for the album are ceded (mostly) to Danger Mouse, the album really starts to cook. The last five songs are the best batch of material U2 have played a part in for a decade, at least, with scintillating uses of electronics and The Edge pulling out some of his finest guitar tricks (on “Cedarwood Road” he ably slides from fractured post-punk to sleek pop smoothly, and he cuts through “Sleep Like A Baby Tonight” with notes that feel like they fracture into shards the second they leave his amplifier). For about 25 minutes, all four men sound energized, challenged and, dare I say it, like they’re having fun. I’d say this bodes well for the future of a band that is closing in on its 40th birthday together. Other legacy acts of their ilk should be so lucky.

I like it!


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Personally, I don't mind how Tedder and Epworth were utilized here. I love the DM material but when I heard they brought in the others I was terrified it would sound desperate for a pop angle and would be a disjointed mess like NLOTH was if we're being honest.

But I think they towed that line perfectly. They had a nice, fresh, consistent approach with the DM stuff and added some variety for old school fans like SFS and some punch with Miracle without it looking like a patchwork of different ideas. It still runs as a smooth, fresh, singular work.
 
rennowba said:
Once the controls for the album are ceded (mostly) to Danger Mouse, the album really starts to cook. The last five songs are the best batch of material U2 have played a part in for a decade, at least, with scintillating uses of electronics and The Edge pulling out some of his finest guitar tricks (on “Cedarwood Road” he ably slides from fractured post-punk to sleek pop smoothly, and he cuts through “Sleep Like A Baby Tonight” with notes that feel like they fracture into shards the second they leave his amplifier). For about 25 minutes, all four men sound energized, challenged and, dare I say it, like they’re having fun. I’d say this bodes well for the future of a band that is closing in on its 40th birthday together. Other legacy acts of their ilk should be so lucky.

I like it!
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Sorry, I can't take anyone seriously who compares "Iris" to "Streets".
 
purpleblackeye said:
I agree. Talk about way off base....in what universe Iris the Streets even remotely similar?
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I meant "In what universe is Iris and Streets even remotely similar?"

Song for Someone generally gets a bad rap. Yes, it comes across as the obligatory, radio-friendly ballad, but that's a first impression. I think it's a pretty sophisticated and touching love song.
 
God Part III said:
Not really a review is it?
Insightful piece though, except I think he forgets to underline how elegantly lyrics like One and With Or Without You are open to several interpretations.

And he speaks quite favourably of the new album actually...
Click to expand...

Yeah, it really bugs the fuck out of me that he acts like all these songs are definitively about god/religion.

That's beyond presumptuous, and considering Into The Heart, he's flat out wrong on some of them as far as the band's concerned.
 
Id love to hear an interview with the band now and see what they think of all this bad press.

They really are getting bashed from pillar to post.
 
rennowba said:
Id love to hear an interview with the band now and see what they think of all this bad press.

They really are getting bashed from pillar to post.
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Yep they sure are, and unfortunately this is a band that chases that critical acclaim so it is all a little concerning IMO


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Calling it an "epic fail" after just one week is pathetic. A lot of publicity has been generated by U2. The media loves the drama, they don't talk about the music, only about what has become a total overreaction. Look at the comments to this article: People are really starting to be upset with that media crap. Many say they like the album.

It's all about double standards really. When Jay Z did something similar a couple of years ago, no one complained. U2 is a band many like to see go down. But the fact that this article and others are quoting wannabe celebrities like Mrs. Osborne and other "artists" hardly anyone has ever heard of speaks for itself.

And I guess the band will give an interview sooner or later. Right now I think they're better advised if they just keep calm and stay out of the public eye unless this storm has lost its power. Then focus on the artistical and musical side of things.

I'm not concerned for the band. I think they saw this coming. I'm just sad and annoyed that the music has been totally overshadowed by the melodrama the media is creating here.
 
KUEFC09U2 said:
Yep they sure are, and unfortunately this is a band that chases that critical acclaim so it is all a little concerning IMO


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They would be pretty tough skinned (they've been doing this for a while, you know) and I think would have braced themselves for at best 50/50 on the critical review front. I'm not sure that they really care about that too much at all. I think they will care about the general atmosphere around the release, which it must be said is absolutely dominantly negative. Did they expect it to be seen as 'innovative'? Did they think people would gush over their genius ability to reach so many people? I would bet they would have expected negativity from some circles for sure - mainly within the industry, for the industry - but certainly not such loud front page negativity right across the globe.

The 33m number is nice for sure, but U2 would be seeing the data behind it and the true story behind that figure would be nothing like the way its getting muddled by some in here ("33m people have listened to the album") and the release of that figure was certainly a defensive measure from either Apple and/or U2 and by going for such a large and obviously wobbly number does kinda suggest that they don't have a really healthy more concrete figure there. And I think they really really really will care about the acceptance of the songs, which remains to be seen. Will be really interesting to see what happens if per No Line none of them have legs.

Tour will be fine. U2 are still a large enough 'event band' with a large enough gap between visits to be able to go on a big, successful tour without having a release of consequence (and probably even without having one at all).

So, remember, Bono went into this asking Does the world really need another U2 album? - what answer do you think he's hearing? Genuine question, but I think the answer really hinges on what happens once the release dust settles and the a public judgement on the songs is pushed to the front.
 
I keep saying it, if this was anyone other than U2 they would be praised every step of the way


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Earnie Shavers said:
They would be pretty tough skinned (they've been doing this for a while, you know) and I think would have braced themselves for at best 50/50 on the critical review front. I'm not sure that they really care about that too much at all. I think they will care about the general atmosphere around the release, which it must be said is absolutely dominantly negative. Did they expect it to be seen as 'innovative'? Did they think people would gush over their genius ability to reach so many people? I would bet they would have expected negativity from some circles for sure - mainly within the industry, for the industry - but certainly not such loud front page negativity right across the globe.



The 33m number is nice for sure, but U2 would be seeing the data behind it and the true story behind that figure would be nothing like the way its getting muddled by some in here ("33m people have listened to the album") and the release of that figure was certainly a defensive measure from either Apple and/or U2 and by going for such a large and obviously wobbly number does kinda suggest that they don't have a really healthy more concrete figure there. And I think they really really really will care about the acceptance of the songs, which remains to be seen. Will be really interesting to see what happens if per No Line none of them have legs.



Tour will be fine. U2 are still a large enough 'event band' with a large enough gap between visits to be able to go on a big, successful tour without having a release of consequence (and probably even without having one at all).



So, remember, Bono went into this asking Does the world really need another U2 album? - what answer do you think he's hearing? Genuine question, but I think the answer really hinges on what happens once the release dust settles and the a public judgement on the songs is pushed to the front.
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But there are positive reviews out there? And some of the so called negative reviews are more interested in how it was launched or taking the piss out of Bono or the hand rather than discussing the actual music, and if what your saying is right this could see the band are a major step back if not call it quite altogether ala REM

Because in all honesty I can't see Larry wanting to put up with it all

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Songs of Innocence has already been discussed more than No Line.
+ it's pretty safe to say that everyone remotely willing to give U2 a chance have listened to at least part of the album.

I don't see how that can be interpreted as anything but a huge success from a marketing perspective.
 
KUEFC09U2 said:
I keep saying it, if this was anyone other than U2 they would be praised every step of the way


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Not immediately praised. The reaction is definitely oversized because it's U2 and it's fun to get stuck into them (and there are a bunch of artists for whom that would be the similar) but I think even if a -insert small 'cool' band here- did it, I don't think it would be immediately praised. More of a thoughtful beard scratching reaction, but that would have actually been a very different thing anyway.

The questions about privacy and 'musical spam' would have still been there, an angry/funny public 'WTF is this shit?' reaction would have still been there, but with a smaller or niche act it really would be a different proposition and a different experiment that would have elicited a slightly different critical response from the music/tech end of the peanut gallery - the eventual result would have been more interesting to people, while with U2, no-one really gives a shit because no-one really sees U2 as a band trying new ways to reach new people with their music, but as nothing more than a corporate brand trying to expand their market.

But, I do think if Oseary had done this with Madonna, or if Coldplay had done it, or even some slightly smaller but still universally well known already (e.g. around the Killers level of size?) then I think the reaction would be much the same - overwhelmingly negative.
 
There are many positive reviews out there, its just the haters are very loud at the moment.

That will wear off sooner or later, and then we will start to see more reviews from sites who have taken the time to digest the music.

Its clear this move has won the band a lot of new fans, and even if that 33 mill number is inflated, the real number is much larger than what they would have sold without the promo.

The tour announcement, the rush for tickets will be the measuring stick, as will be sales for Songs of Experience.

U2 has been controversial and in your face their entire career, this is nothing new, just a different form.
 
The band is being butchered by the Media, but there is a positive that no one sees...

Apart from the standard-casual-stupid ones most of the comments are defending the album somewhat. Not the band, not U2 but the album

They need image makeover if they wanna do this business from here now :reject:
 
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