Official Interference reviews (out of 5 stars)

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U2girl said:
4/5. Easily their best since AB. Songs 5-7 are a nice break, but they also bring down the album a little.
Third masterpiece ? No, but it just might be the closest they'll ever get.
Click to expand...

spot on - and this collection that has the gem that is Magnificent miike:wave:
 
Between 4.5 and 5 out of five. It's not perfect (it's almost there, though!), but I would absolutely hate to see any modifications to the tracklisting or whatever.
 
4.5/5

I do think it's a masterpiece.

It also has flaws, but then I never thought too highly of IGC/TTYW on Joshua Tree, or of So Cruel/TTTYAATW on AB.

I will say though, that Bono has still, to my ears, left a bit too much cheese in the lyrics. Way less than the last album, but still a bit cheesy.. I would be SO stoked if I woke up tomorrow and somehow magnificent was called something else, and didn't shout "Only love can leave such a mark" in the chorus.
(Don't flame me!)

And I agree with Earnie, 1-4 and 8-11 are stunning. 5-7 don't quite match that level.

SUC would work if GOYB wasn't there beside it, dragging it down through association.

Crazy is pretty cool. But it's tough when you've got such high-flying stable-mates.

GOYB is just not right, for me, I wish they'd have cut it.

But the feelings I'm still getting from 1-4 and 8-11, wow, Coldplay, Snow Patrol and all the other pretenders just don't get close to this.

Neither did U2 the last four albums.

Very solid 4.5/5
 
4/5, would be perfect if a couple songs were replaced (IMO SUC & Crazy, more b-sides in my book and it would curious to see how Winter and EBW would have been in their place, but I think Crazy will do well on the pop stations if released as a single, MAG almost by itself makes this a 5/5 though!!!!)
 
4.5/5 ..Everything works for me on the album...the only song I really can't get into is Fez-Being Born, that's where the 4.5 comes from , but that might change.
Is it perfect?well to my ears it is :) ..I love everything about it!
I think its one of the strongest albums U2 has put out since Achtung Baby:up:
 
3.625/5.

There are about 3-4 absolute gems on this album and a half dozen turds.

But we need the turds to appreciate the gems.

<>

:angry:
 
5/5

I'm just loving it right now and the more I listen to it the more I love it. I think its a really different record for them again.

Great!!!

and I don't think there are ANY turds on this album.
 
4.5/5

But when I replace SUC with Winter - even if Winter's only just decent: 5/5
 
kiwilad said:
4.5/5

I do think it's a masterpiece.

It also has flaws, but then I never thought too highly of IGC/TTYW on Joshua Tree, or of So Cruel/TTTYAATW on AB.

I will say though, that Bono has still, to my ears, left a bit too much cheese in the lyrics. Way less than the last album, but still a bit cheesy.. I would be SO stoked if I woke up tomorrow and somehow magnificent was called something else, and didn't shout "Only love can leave such a mark" in the chorus.
(Don't flame me!)

And I agree with Earnie, 1-4 and 8-11 are stunning. 5-7 don't quite match that level.

SUC would work if GOYB wasn't there beside it, dragging it down through association.

Crazy is pretty cool. But it's tough when you've got such high-flying stable-mates.

GOYB is just not right, for me, I wish they'd have cut it.

But the feelings I'm still getting from 1-4 and 8-11, wow, Coldplay, Snow Patrol and all the other pretenders just don't get close to this.

Neither did U2 the last four albums.

Very solid 4.5/5
Click to expand...

I am glad you pointed out a couple of flaw for you with JT / AB. That makes the comparison work better IMO.

"you glorify the past, the future dries up" after all
 
No album is absolutely perfect. After 12 to 15 listens of NLOTH (some while listening intently in headphones, some while it was playing in the background while I did other shit, some where I listened to the songs in a different order) I feel quite comfortable giving it a 5/5. I think it stands proudly with their very best. The weakest songs for me are the middle three -- Crazy, GOYB, and SUC -- but each of them has something to offer for sure.
 
4.5/5

No Line - is cool.. great U2 Sounds
Magnificent - nuff said, best track
MOS - little dissapointing despite being very creative, a little more work and it could have been really something epic.
Unkown Caller - Brilliance ... another very creative idea and they really nailed it!
IGCIIDGCT - departure to a different feeling and its all good, (dont understand the negetivity of so many towards this song).
GOYB - Awesome musically, let down by the silly verses, has some of the best moments on the album ironically, yet most poeple will ignore them.
Stand Up Comedy - Sensational sounding Edge!! Not much to complain about here, every U2 album needs a rollicking rock tune like this... the lyrics are just fine.
Fez - Being Born - Another departure that shows where this album came from and it works well.
White As Snow - beautiful, yet a little on the boring side... you'll either love it or ignore it.
Breathe - Brilliance returns and despite a few awkward lyrics and overloaded keyboards the band really shines through most of this song... different delivery of vocals that works exceptionally well .
COL - a return to a slightly boring sense, yet some well thought lyrics keep you interested just enough... its no Love is Blindness though.
 
Anu said:
I hope you will!
Click to expand...

Well I'm glad I have one potential reader :D

okay guys have fun reading my 20 page review, it's awesome I swear!!!!

My favourite U2 albums are, to an extent, opposites. There's The Joshua Tree, which defined 80's U2, and Achtung Baby which defined the 90's. There's Pop, the much-maligned but quite brilliant sonic exploration of U2 pushing themselves as far as they were willing to go, and then All That You Can't Leave Behind, the best-selling, back-to-basics, perfect collection of songs which redefined U2 for a new generation.

Where does No Line on the Horizon fit in all of this? I'm not quite sure. There are songs that fit with seemingly every era of U2 (I'll Go Crazy If I Don't Go Crazy Tonight wouldn't sound out of place between In a Little While and Wild Honey, FEZ-Being Born recalls the experimentation of Zooropa and Passengers, and Magnificent is a revitalized 80's U2), and then there are songs like the title track, which to me couldn't fit on any other album. No Line on the Horizon manages to be both diverse and cohesive, which neither of the albums from this decade could quite manage. More importantly, the album may be their most consistent. None of the songs are clearly inferior. Even U2's best albums have tracks that most fans often skip. Not so with No Line.

No Line on the Horizon - As I have said before - thank you, Brian Eno. The b-side demo known as "No Line on the Horizon 2" had me seriously worried, but thankfully the album version delivers. Full of dynamics and atmosphere, it sets up the album perfectly. Bono deserves some thanks too - fun lyrics and a youthful, energetic vocal delivery gives the song its life, along with Larry's drums. And Edge's wonderfully distorted guitar. And of course, Adam's ever-pulsating bass. So, basically the whole band is on fire for this track, including the producers. Good work guys!

Magnificent - U2 have been listening to The Killers? I can see it. I can also see that The Killers have been listening to U2, and after the travesty that was Day & Age Mr. Flowers might want to reconsider his comments about The Killers being potentially bigger than U2. Especially after he hears this song. It's an instant classic, the kind of uplifting, anthemic rock that only U2 can pull off. Edge does that thing where he plays a simple delay riff that makes you cry because you know you'll never write anything so timeless. The rhythm section will have you jumping up and down in stadiums, and lyrics like "Justify, til we die, you and I will magnify! AAoohh ohh! Magnificent!" are ridiculously fun to sing along to. Only U2 can leave such a mark.

Moment of Surrender - I could write a lengthy review of this song, or I could just tell you that Bono's voice is absolutely incredible and that Eno wasn't lying when he said it's one of their best. The hymnal chorus comes out of left field, but on repeated listens it feels more and more natural. The atmospherics may be reminiscent of Passengers, but really U2 has never done anything quite like this song, and probably never will again, considering it was done in one take. A magical moment. Of surrender. Which lasts 7 minutes. Seriously though, an absolutely beautiful piece conveying a quite tortured character. Bono is the clear star here.

Unknown Caller - Every review feels the need to mention the birds in the intro, which to me is probably the most insignificant part of the song. So I'm not really sure what that's all about. Maybe they all wrote their reviews based on the 30 second clips. That having been said, this is one of the best tracks on the album. The verses have some of my favourite lyrics of the album - "I was lost between the midnight and the dawning/In a place of no consequence or company/3:33 when the numbers fell off the clock face/Speed dialing with no signal at all" "I was right there at the top of the bottom/Of the edge of the known universe, where I wanted to be/I had driven to the scene of the accident/And I sat there waiting for me." Bono sounds positively heartbroken, so much so that I want to give him a hug, and also wipe my eyes. Luckily there's a joyous chorus to save both the character and me, complete with obligatory OoooooOoOooh's. As we all know, in the outro Edge plays a stunning solo up there with his best, fitting the song as perfectly as the solo of New Year's Day. Oh yeah, and Bono likes Macs. Force quit, and move to trash.

I'll Go Crazy If I Don't Go Crazy Tonight - Pop perfection. "It's not a HIIIILL it's a MOUNTAAAIN!" is one of the better parts of the album, and the "Baby Baby Baby!" bridge tops that. I think the line "Shout in to the darkness, squeeze out sparks of light" best fits the mood of this song. I also need to point out the line "The right to be ridiculous is something I hold dear," solely because every other review does. Bono's being self-deprecating, get it? Aren't you glad I explained that to you? Anyway, Edge's solo is super catchy. Yep.

Get On Your Boots - Everybody hates this song, except me.

Stand Up Comedy - I was sold in the first 3 seconds, when Edge played a riff somewhere between Zeppelin and Rage. The verses are funky, mostly thanks to Adam. The chorus is typical 00's U2, but that's not a bad thing. As the last song in the middle section of the album, it's pure fun. Yeah, the lyrics are a bit obvious ("God is love"?) but with a groove like that, who really cares about the lyrics? I mean, at least there's that Napolean line. You know it, because you've read about it a thousand times. Anyway, I think Bono is the only singer who can get away with saying "Come all ye people" and not sound too ridiculous. But the right to be ridiculous is something he holds dear, remember?!

FEZ - Being Born - I actually find myself wishing the first part was longer, because it's gorgeous. A song you can close your eyes and live in for awhile. But then Being Born kicks in and suddenly you're speeding on the auto route, lights flashing past. Definitely a feeling of movement. A song that manages to be both experimental and very U2 at the same time. It has quite an ethereal quality to it. The multiples voices in the second verse ("Lights...") are reminiscent of the end of "One Minute Warning."

White as Snow - Placed after Get On Your Boots this track would have sounded absurd, but somehow it makes sense after Fez, which users in the third section of the album. Bono shows his versatility here, sounding like a world-weary man as opposed to the fun-loving Bono on Crazy Tonight. Appropriately so, as he's playing a character. The music and lyrics evoke spaces, recalling the late 80's U2. This is obviously one of the more subtle tracks on the album, but I don't think anyone can deny the beauty of the crescendo in the middle of the track. This is a beautiful song, and something I don't think they could have written at any point before now.

Breathe - Within the first 30 seconds, you know there's no way this song can fail. Aggressive drum intro? Cello? 3/4 riff with attitude? Bring it on. And then Bono comes in, practically raving with an undeniable swagger. Cockatoo! One thing is for sure: U2 knows how to write a song. Each part flows seamlessly into the next, building up to one of U2's best choruses. When Bono sings "Walk out into the street, sing your heart out," well, that's exactly what I want to do. This song somehow manages to be everything U2 is and yet like nothing they've ever written before. Insert infinite praise here.

Cedars of Lebanon - Haunting. Gorgeous. Sorrowful. "Return...the call...to home" is the single best moment on the entire album. It beautifully contrast's Bono's vocals in the rest of the song. Sounds pulsate in and out of the song, much like Wake Up Dead Man, except even better. Edge's solo is brief, but it couldn't have been any other way. The song ends without any sort of climax, but I can't imagine any other sort of ending. This song is perfect, and possibly the best closer to any U2 album.

No Line is not as accessible as the last two albums; it takes many listens to fully sink in. It's hard to say if this album can ever surpass The Joshua Tree or Achtung Baby in reputation, but after listening to the album well over 50 times I can safely say it belongs up there with them. U2 have done it again, against all odds - what other rock bands have put out one of their best albums nearing age 50, after being together for over 30 years? Their 13th album is gonna have a lot to live up to.

Oh, if you couldn't tell:

5/5 gold stars.
 
AtomicBono said:
Well I'm glad I have one potential reader :D

okay guys have fun reading my 20 page review, it's awesome I swear!!!!

My favourite U2 albums are, to an extent, opposites. There's The Joshua Tree, which defined 80's U2, and Achtung Baby which defined the 90's. There's Pop, the much-maligned but quite brilliant sonic exploration of U2 pushing themselves as far as they were willing to go, and then All That You Can't Leave Behind, the best-selling, back-to-basics, perfect collection of songs which redefined U2 for a new generation.

Where does No Line on the Horizon fit in all of this? I'm not quite sure. There are songs that fit with seemingly every era of U2 (I'll Go Crazy If I Don't Go Crazy Tonight wouldn't sound out of place between In a Little While and Wild Honey, FEZ-Being Born recalls the experimentation of Zooropa and Passengers, and Magnificent is a revitalized 80's U2), and then there are songs like the title track, which to me couldn't fit on any other album. No Line on the Horizon manages to be both diverse and cohesive, which neither of the albums from this decade could quite manage. More importantly, the album may be their most consistent. None of the songs are clearly inferior. Even U2's best albums have tracks that most fans often skip. Not so with No Line.

No Line on the Horizon - As I have said before - thank you, Brian Eno. The b-side demo known as "No Line on the Horizon 2" had me seriously worried, but thankfully the album version delivers. Full of dynamics and atmosphere, it sets up the album perfectly. Bono deserves some thanks too - fun lyrics and a youthful, energetic vocal delivery gives the song its life, along with Larry's drums. And Edge's wonderfully distorted guitar. And of course, Adam's ever-pulsating bass. So, basically the whole band is on fire for this track, including the producers. Good work guys!

Magnificent - U2 have been listening to The Killers? I can see it. I can also see that The Killers have been listening to U2, and after the travesty that was Day & Age Mr. Flowers might want to reconsider his comments about The Killers being potentially bigger than U2. Especially after he hears this song. It's an instant classic, the kind of uplifting, anthemic rock that only U2 can pull off. Edge does that thing where he plays a simple delay riff that makes you cry because you know you'll never write anything so timeless. The rhythm section will have you jumping up and down in stadiums, and lyrics like "Justify, til we die, you and I will magnify! AAoohh ohh! Magnificent!" are ridiculously fun to sing along to. Only U2 can leave such a mark.

Moment of Surrender - I could write a lengthy review of this song, or I could just tell you that Bono's voice is absolutely incredible and that Eno wasn't lying when he said it's one of their best. The hymnal chorus comes out of left field, but on repeated listens it feels more and more natural. The atmospherics may be reminiscent of Passengers, but really U2 has never done anything quite like this song, and probably never will again, considering it was done in one take. A magical moment. Of surrender. Which lasts 7 minutes. Seriously though, an absolutely beautiful piece conveying a quite tortured character. Bono is the clear star here.

Unknown Caller - Every review feels the need to mention the birds in the intro, which to me is probably the most insignificant part of the song. So I'm not really sure what that's all about. Maybe they all wrote their reviews based on the 30 second clips. That having been said, this is one of the best tracks on the album. The verses have some of my favourite lyrics of the album - "I was lost between the midnight and the dawning/In a place of no consequence or company/3:33 when the numbers fell off the clock face/Speed dialing with no signal at all" "I was right there at the top of the bottom/Of the edge of the known universe, where I wanted to be/I had driven to the scene of the accident/And I sat there waiting for me." Bono sounds positively heartbroken, so much so that I want to give him a hug, and also wipe my eyes. Luckily there's a joyous chorus to save both the character and me, complete with obligatory OoooooOoOooh's. As we all know, in the outro Edge plays a stunning solo up there with his best, fitting the song as perfectly as the solo of New Year's Day. Oh yeah, and Bono likes Macs. Force quit, and move to trash.

I'll Go Crazy If I Don't Go Crazy Tonight - Pop perfection. "It's not a HIIIILL it's a MOUNTAAAIN!" is one of the better parts of the album, and the "Baby Baby Baby!" bridge tops that. I think the line "Shout in to the darkness, squeeze out sparks of light" best fits the mood of this song. I also need to point out the line "The right to be ridiculous is something I hold dear," solely because every other review does. Bono's being self-deprecating, get it? Aren't you glad I explained that to you? Anyway, Edge's solo is super catchy. Yep.

Get On Your Boots - Everybody hates this song, except me.

Stand Up Comedy - I was sold in the first 3 seconds, when Edge played a riff somewhere between Zeppelin and Rage. The verses are funky, mostly thanks to Adam. The chorus is typical 00's U2, but that's not a bad thing. As the last song in the middle section of the album, it's pure fun. Yeah, the lyrics are a bit obvious ("God is love"?) but with a groove like that, who really cares about the lyrics? I mean, at least there's that Napolean line. You know it, because you've read about it a thousand times. Anyway, I think Bono is the only singer who can get away with saying "Come all ye people" and not sound too ridiculous. But the right to be ridiculous is something he holds dear, remember?!

FEZ - Being Born - I actually find myself wishing the first part was longer, because it's gorgeous. A song you can close your eyes and live in for awhile. But then Being Born kicks in and suddenly you're speeding on the auto route, lights flashing past. Definitely a feeling of movement. A song that manages to be both experimental and very U2 at the same time. It has quite an ethereal quality to it. The multiples voices in the second verse ("Lights...") are reminiscent of the end of "One Minute Warning."

White as Snow - Placed after Get On Your Boots this track would have sounded absurd, but somehow it makes sense after Fez, which users in the third section of the album. Bono shows his versatility here, sounding like a world-weary man as opposed to the fun-loving Bono on Crazy Tonight. Appropriately so, as he's playing a character. The music and lyrics evoke spaces, recalling the late 80's U2. This is obviously one of the more subtle tracks on the album, but I don't think anyone can deny the beauty of the crescendo in the middle of the track. This is a beautiful song, and something I don't think they could have written at any point before now.

Breathe - Within the first 30 seconds, you know there's no way this song can fail. Aggressive drum intro? Cello? 3/4 riff with attitude? Bring it on. And then Bono comes in, practically raving with an undeniable swagger. Cockatoo! One thing is for sure: U2 knows how to write a song. Each part flows seamlessly into the next, building up to one of U2's best choruses. When Bono sings "Walk out into the street, sing your heart out," well, that's exactly what I want to do. This song somehow manages to be everything U2 is and yet like nothing they've ever written before. Insert infinite praise here.

Cedars of Lebanon - Haunting. Gorgeous. Sorrowful. "Return...the call...to home" is the single best moment on the entire album. It beautifully contrast's Bono's vocals in the rest of the song. Sounds pulsate in and out of the song, much like Wake Up Dead Man, except even better. Edge's solo is brief, but it couldn't have been any other way. The song ends without any sort of climax, but I can't imagine any other sort of ending. This song is perfect, and possibly the best closer to any U2 album.

No Line is not as accessible as the last two albums; it takes many listens to fully sink in. It's hard to say if this album can ever surpass The Joshua Tree or Achtung Baby in reputation, but after listening to the album well over 50 times I can safely say it belongs up there with them. U2 have done it again, against all odds - what other rock bands have put out one of their best albums nearing age 50, after being together for over 30 years? Their 13th album is gonna have a lot to live up to.

Oh, if you couldn't tell:

5/5 gold stars.
Click to expand...

Yeah MAN!

You are damn right! A little number of people gave it 2/5 which is funny thing,I bet they didnt hear the album at all...but always there are some haters...unlucky for them this album made new standars!!!!! the best since AB
 
AtomicBono said:
Well I'm glad I have one potential reader :D

okay guys have fun reading my 20 page review, it's awesome I swear!!!!

My favourite U2 albums are, to an extent, opposites. There's The Joshua Tree, which defined 80's U2, and Achtung Baby which defined the 90's. There's Pop, the much-maligned but quite brilliant sonic exploration of U2 pushing themselves as far as they were willing to go, and then All That You Can't Leave Behind, the best-selling, back-to-basics, perfect collection of songs which redefined U2 for a new generation.

Where does No Line on the Horizon fit in all of this? I'm not quite sure. There are songs that fit with seemingly every era of U2 (I'll Go Crazy If I Don't Go Crazy Tonight wouldn't sound out of place between In a Little While and Wild Honey, FEZ-Being Born recalls the experimentation of Zooropa and Passengers, and Magnificent is a revitalized 80's U2), and then there are songs like the title track, which to me couldn't fit on any other album. No Line on the Horizon manages to be both diverse and cohesive, which neither of the albums from this decade could quite manage. More importantly, the album may be their most consistent. None of the songs are clearly inferior. Even U2's best albums have tracks that most fans often skip. Not so with No Line.

No Line on the Horizon - As I have said before - thank you, Brian Eno. The b-side demo known as "No Line on the Horizon 2" had me seriously worried, but thankfully the album version delivers. Full of dynamics and atmosphere, it sets up the album perfectly. Bono deserves some thanks too - fun lyrics and a youthful, energetic vocal delivery gives the song its life, along with Larry's drums. And Edge's wonderfully distorted guitar. And of course, Adam's ever-pulsating bass. So, basically the whole band is on fire for this track, including the producers. Good work guys!

Magnificent - U2 have been listening to The Killers? I can see it. I can also see that The Killers have been listening to U2, and after the travesty that was Day & Age Mr. Flowers might want to reconsider his comments about The Killers being potentially bigger than U2. Especially after he hears this song. It's an instant classic, the kind of uplifting, anthemic rock that only U2 can pull off. Edge does that thing where he plays a simple delay riff that makes you cry because you know you'll never write anything so timeless. The rhythm section will have you jumping up and down in stadiums, and lyrics like "Justify, til we die, you and I will magnify! AAoohh ohh! Magnificent!" are ridiculously fun to sing along to. Only U2 can leave such a mark.

Moment of Surrender - I could write a lengthy review of this song, or I could just tell you that Bono's voice is absolutely incredible and that Eno wasn't lying when he said it's one of their best. The hymnal chorus comes out of left field, but on repeated listens it feels more and more natural. The atmospherics may be reminiscent of Passengers, but really U2 has never done anything quite like this song, and probably never will again, considering it was done in one take. A magical moment. Of surrender. Which lasts 7 minutes. Seriously though, an absolutely beautiful piece conveying a quite tortured character. Bono is the clear star here.

Unknown Caller - Every review feels the need to mention the birds in the intro, which to me is probably the most insignificant part of the song. So I'm not really sure what that's all about. Maybe they all wrote their reviews based on the 30 second clips. That having been said, this is one of the best tracks on the album. The verses have some of my favourite lyrics of the album - "I was lost between the midnight and the dawning/In a place of no consequence or company/3:33 when the numbers fell off the clock face/Speed dialing with no signal at all" "I was right there at the top of the bottom/Of the edge of the known universe, where I wanted to be/I had driven to the scene of the accident/And I sat there waiting for me." Bono sounds positively heartbroken, so much so that I want to give him a hug, and also wipe my eyes. Luckily there's a joyous chorus to save both the character and me, complete with obligatory OoooooOoOooh's. As we all know, in the outro Edge plays a stunning solo up there with his best, fitting the song as perfectly as the solo of New Year's Day. Oh yeah, and Bono likes Macs. Force quit, and move to trash.

I'll Go Crazy If I Don't Go Crazy Tonight - Pop perfection. "It's not a HIIIILL it's a MOUNTAAAIN!" is one of the better parts of the album, and the "Baby Baby Baby!" bridge tops that. I think the line "Shout in to the darkness, squeeze out sparks of light" best fits the mood of this song. I also need to point out the line "The right to be ridiculous is something I hold dear," solely because every other review does. Bono's being self-deprecating, get it? Aren't you glad I explained that to you? Anyway, Edge's solo is super catchy. Yep.

Get On Your Boots - Everybody hates this song, except me.

Stand Up Comedy - I was sold in the first 3 seconds, when Edge played a riff somewhere between Zeppelin and Rage. The verses are funky, mostly thanks to Adam. The chorus is typical 00's U2, but that's not a bad thing. As the last song in the middle section of the album, it's pure fun. Yeah, the lyrics are a bit obvious ("God is love"?) but with a groove like that, who really cares about the lyrics? I mean, at least there's that Napolean line. You know it, because you've read about it a thousand times. Anyway, I think Bono is the only singer who can get away with saying "Come all ye people" and not sound too ridiculous. But the right to be ridiculous is something he holds dear, remember?!

FEZ - Being Born - I actually find myself wishing the first part was longer, because it's gorgeous. A song you can close your eyes and live in for awhile. But then Being Born kicks in and suddenly you're speeding on the auto route, lights flashing past. Definitely a feeling of movement. A song that manages to be both experimental and very U2 at the same time. It has quite an ethereal quality to it. The multiples voices in the second verse ("Lights...") are reminiscent of the end of "One Minute Warning."

White as Snow - Placed after Get On Your Boots this track would have sounded absurd, but somehow it makes sense after Fez, which users in the third section of the album. Bono shows his versatility here, sounding like a world-weary man as opposed to the fun-loving Bono on Crazy Tonight. Appropriately so, as he's playing a character. The music and lyrics evoke spaces, recalling the late 80's U2. This is obviously one of the more subtle tracks on the album, but I don't think anyone can deny the beauty of the crescendo in the middle of the track. This is a beautiful song, and something I don't think they could have written at any point before now.

Breathe - Within the first 30 seconds, you know there's no way this song can fail. Aggressive drum intro? Cello? 3/4 riff with attitude? Bring it on. And then Bono comes in, practically raving with an undeniable swagger. Cockatoo! One thing is for sure: U2 knows how to write a song. Each part flows seamlessly into the next, building up to one of U2's best choruses. When Bono sings "Walk out into the street, sing your heart out," well, that's exactly what I want to do. This song somehow manages to be everything U2 is and yet like nothing they've ever written before. Insert infinite praise here.

Cedars of Lebanon - Haunting. Gorgeous. Sorrowful. "Return...the call...to home" is the single best moment on the entire album. It beautifully contrast's Bono's vocals in the rest of the song. Sounds pulsate in and out of the song, much like Wake Up Dead Man, except even better. Edge's solo is brief, but it couldn't have been any other way. The song ends without any sort of climax, but I can't imagine any other sort of ending. This song is perfect, and possibly the best closer to any U2 album.

No Line is not as accessible as the last two albums; it takes many listens to fully sink in. It's hard to say if this album can ever surpass The Joshua Tree or Achtung Baby in reputation, but after listening to the album well over 50 times I can safely say it belongs up there with them. U2 have done it again, against all odds - what other rock bands have put out one of their best albums nearing age 50, after being together for over 30 years? Their 13th album is gonna have a lot to live up to.

Oh, if you couldn't tell:

5/5 gold stars.
Click to expand...

I wanna give you a hug. You're a chick right? If not, i'll just shake your hand and walk away quietly.
 
2.5/5

Upon first listen, I found myself pleasantly surprised that it wasn't a record made just to pass the time, as I felt U2 had done with the previous two albums. Repeated listens, however, revealed a familiar shallowness and a disheartening eagerness to relive the glory days. The Edge stopped tinkering with his orgasmatron and instead built a time machine in order to steal his own riffs from the 80s. Eno has become more or less conventional in this day and age, and he certainly failed his main task: to prevent Lillywhite from bringing U2's early works back to life. Lanois, in spite of all his good blues-heavy intentions, is not going to stop Bono from becoming rock music's Celine Dion--a skilled vocalist whose singing can sometimes be downright annoying. No matter how much stronger of late his voice has become, Bono is more often than not the downfall of a decent melody of any given song on this album.

People who won't agree with my review will probably think I'm bitching about U2 not sounding like Achtung Baby or whatever, but honestly, I don't care what era of themselves they're trying to emulate. My opinion is that there are only a couple of gems in the album and the rest is just October warmed over. Am I supposed to be impressed by production tricks that any novice with a pirated copy of Cakewalk Sonar can easily reproduce? Which producer thought it was a good idea to record the vocals so prominently in the mix? I suppose this much talked about third-person point of view is something so revelatory that it changes the game for modern songwriters. Ha! These days, Bono is lyrically bankrupt compared to Conor Oberst or Neko Case, among others with miles more talent. Too bad that two added songwriters on this record wasn't enough to bail him out.
 
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