NLOTH Album Reviews Pt 3
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- Start date
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Who rates out of 6 stars?
Q and RS supposedly gave it 5 stars. So.
Yeah RS definitely did. You can see it on the cover which is on their website.
cjboog
Refugee
So, basically, you're saying that they should not give good grades to things that you don't really like?
No, I'm saying why people tend to think Pitchfork hates U2. U2 is our favorite band, while Radiohead and AC not. And when we see it getting such "low" rates, there's the impression that Pitchfork doesn't like U2. Not my case. Just trying to explain what makes people think that.
coach
War Child
My two cents:
"I know a girl who's like the sea, I watch her changing every day for me... one day she’s still, the next she swells". For a fan, a new U2 album is quite a landmark, specially since it takes over three years in the making, in this case, over 4 years. It makes you wonder, is it worth the wait? To announce that the album's name is No Line On The Horizon and say that it will be pushed back from November 2008 to March 2009 is to say the least ironical. U2’s new album opens just as much the same way this year started, a drift at sea amidst a storm. But we’re not scared, will take it on, ‘coz there’s not much else we can do…
Speaking not only as a U2 fan, but also as a fan of music in general, I can only try to describe the incredible rush of listening to new music you've been expecting for a long time. It can leave you reeling for days at a time, and the rush and adrenaline will linger on for weeks, and months, and maybe even years, especially if it's beyond your fucking expectations. Having said that, it is to be inferred that this review is particularly and heavily biased. You’ve got to understand that it’s not only the music, but also the idea of a band that makes a U2 fan so crazy. That these people have been in a band longer than they haven’t, that they are friends and that they stick together and they manage to put Joy into music, instead self-deprecation, which is, a lot easier.
U2's new album has a great thing going for it: it's as much Brian Eno's creation as it is U2's, if not more. Third track on the album "Moment of Surrender" could easily fit in Eno's and David Byrne's "Everything that happens will happen today", the chorus in particular being in the immediate family of "Strange Overtones". The ambience-heavy song is a telltale for how, in my opinion, the band took a back seat in most of the tunes and let Eno and Daniel Lanois work their magic. It is no coincidence that U2’s best three albums: “Acthung Baby”, “The Joshua Tree” and “The Unforgettable Fire” were delivered by these two midwifes.
The album has what both recent U2 albums have lacked, balls. Since "POP", U2 hadn't tried to stretch the canvas as much as they do here. Still, it's no "Zooropa" or "Acthung Baby". Yet, album closer "Cedars of Lebanon" could easily be placed in 95's "Passengers-Original Soundtracks 1". The same goes for "White as Snow", the album's least accessible song, a slow paced track. It is an indicator that this album could’ve easily been released as the “Original Soundtracks 2” and have been released under “Passengers”.
But still, this bears the U2 moniker. It's got Edge's signature guitar sound, courtesy in most part, of a vintage Gibson Explorer. "Unknown Caller”'s swirling arpeggios and "Get on your boots"'s Death-by-audio distortion box, keep this grounded in the commercial rock pantheon. But they’ve dared to be a bit risky again and not just Pop-Rock indulgent adult contemporary bitches.
Finally...FINALLY we have a U2 album for this decade, and part of the next. The bittersweet thing about being a U2 fan is knowing they will milk this release for the next three years, and then take another one and a half to write and record a new one. But all is forgiven as long as the watershed moments like "Magnificent" which I predict will be a key live moment in the tour to come, and second to last track "Breathe", keep on coming.
It's good to have something to help 2009 go by a bit faster, I urge you folks, if you do not want to go out and buy this, get it from Pirate Bay while you still can. Or discover new music, support local music and art scenes. Especially now that Live Nation and Ticketmaster will make live music a monopoly and become the ultimate pimps. The important thing is to see what's out there, to see what's going on in the world. To be lost at sea, but not be scared about it. "Choose your enemies carefully, for they will define you... gonna last with you longer than your friends." says Bono in the last lyric on the album. I have to agree on that one.
From somewhere within the slipstream.
Coach .
"I know a girl who's like the sea, I watch her changing every day for me... one day she’s still, the next she swells". For a fan, a new U2 album is quite a landmark, specially since it takes over three years in the making, in this case, over 4 years. It makes you wonder, is it worth the wait? To announce that the album's name is No Line On The Horizon and say that it will be pushed back from November 2008 to March 2009 is to say the least ironical. U2’s new album opens just as much the same way this year started, a drift at sea amidst a storm. But we’re not scared, will take it on, ‘coz there’s not much else we can do…
Speaking not only as a U2 fan, but also as a fan of music in general, I can only try to describe the incredible rush of listening to new music you've been expecting for a long time. It can leave you reeling for days at a time, and the rush and adrenaline will linger on for weeks, and months, and maybe even years, especially if it's beyond your fucking expectations. Having said that, it is to be inferred that this review is particularly and heavily biased. You’ve got to understand that it’s not only the music, but also the idea of a band that makes a U2 fan so crazy. That these people have been in a band longer than they haven’t, that they are friends and that they stick together and they manage to put Joy into music, instead self-deprecation, which is, a lot easier.
U2's new album has a great thing going for it: it's as much Brian Eno's creation as it is U2's, if not more. Third track on the album "Moment of Surrender" could easily fit in Eno's and David Byrne's "Everything that happens will happen today", the chorus in particular being in the immediate family of "Strange Overtones". The ambience-heavy song is a telltale for how, in my opinion, the band took a back seat in most of the tunes and let Eno and Daniel Lanois work their magic. It is no coincidence that U2’s best three albums: “Acthung Baby”, “The Joshua Tree” and “The Unforgettable Fire” were delivered by these two midwifes.
The album has what both recent U2 albums have lacked, balls. Since "POP", U2 hadn't tried to stretch the canvas as much as they do here. Still, it's no "Zooropa" or "Acthung Baby". Yet, album closer "Cedars of Lebanon" could easily be placed in 95's "Passengers-Original Soundtracks 1". The same goes for "White as Snow", the album's least accessible song, a slow paced track. It is an indicator that this album could’ve easily been released as the “Original Soundtracks 2” and have been released under “Passengers”.
But still, this bears the U2 moniker. It's got Edge's signature guitar sound, courtesy in most part, of a vintage Gibson Explorer. "Unknown Caller”'s swirling arpeggios and "Get on your boots"'s Death-by-audio distortion box, keep this grounded in the commercial rock pantheon. But they’ve dared to be a bit risky again and not just Pop-Rock indulgent adult contemporary bitches.
Finally...FINALLY we have a U2 album for this decade, and part of the next. The bittersweet thing about being a U2 fan is knowing they will milk this release for the next three years, and then take another one and a half to write and record a new one. But all is forgiven as long as the watershed moments like "Magnificent" which I predict will be a key live moment in the tour to come, and second to last track "Breathe", keep on coming.
It's good to have something to help 2009 go by a bit faster, I urge you folks, if you do not want to go out and buy this, get it from Pirate Bay while you still can. Or discover new music, support local music and art scenes. Especially now that Live Nation and Ticketmaster will make live music a monopoly and become the ultimate pimps. The important thing is to see what's out there, to see what's going on in the world. To be lost at sea, but not be scared about it. "Choose your enemies carefully, for they will define you... gonna last with you longer than your friends." says Bono in the last lyric on the album. I have to agree on that one.
From somewhere within the slipstream.
Coach .
Last edited:
Dragonfave
New Yorker
Acrobat51829
War Child
Alan Cross:
No Line on the Horizon,” Track-by-Track
One Saturday in November 2004, about two weeks before “How to Dismantle and Atomic Bomb” was scheduled to be released, an email popped into my inbox.
Although it appeared to have come from someplace in eastern Europe, it was probably anonymized in a million place.
“Want the new U2?” it said. “Here it is.”
I scrubbed the attached file with every anti-virus, anti-spyware and anti-malware program I had. Then I opened it. And there it was. I later learned from Bono himself that there had been a breach of security at the CD pressing plant.
A similar thing happened this morning just after 8am ET. I’m listening to the final and finished version of the album as I type this.
Apparently, there was a leak through an Australian online music store called Get Music at around 4am ET today. For a brief time, they apparently made the album available for sale.
Whether it was a human or software error is now irrelevant. I’ve got twelve fresh U2 songs playing in iTunes right now. The mix sounds finished and the running order is exactly what we’ve been told it would be.
General Impressions:
This is a big, expansive album that is in some ways reminiscent of both The Unforgettable Fire and Achtung Baby.
To my ears, it’s better than both How to Dismantle and Atomic Bomb and All That You Can’t Leave Behind making it—well, the best record they’ve done since Achtung Baby.
Although this is an Eno/Lanoid co-production, I seem to hear Lanois’ influence over that of Eno.
Casual fans won’t be impressed and generally dismissive of the album (and the band themselves), but the faithful will find more than enough to keep themselves occupied over the next while.
And it’ll be interesting to see how some of these new songs translate in concert. Rumours are of a world tour beginning in Spain in April, but who really knows?
What follows are my initial stream-of-consciousness/first impressions of the album. I’ve since added in new notes as I investigated things further throughout the morning. They appear in brackets.
No Line on the Horizon (4:12): Last week, an alternate take was making the rounds. The album version sounds much better to my ears than what we first heard.
Bono doesn’t seem strain to hit the high notes in the verses and actually adds a bit of a growl to his delivery.
The Edge’s guitars sound bigger and more robust in this mix, especially once the second version. I can’t help thinking that this song would have found a nice home on Achtung Baby.
It could have been the first single, but since it’s a mid-tempo song, it’s probably best as a second or third single.
Magnificent (5:24): Starts with ominous mid-tempo drums with a mixture of modern and retro keyboard-ish noises that could only emanate from an Eno/Lanois shop.
Glorious Edge guitar appears about 45 seconds in. It’s in a major key but achieves melancholic mood, much in the way Radiohead can do it. Wait—is that a muffled trumpet buried in the mix?
Probably the most Eno-esque song on the record. (With an edit, this could be a single.)
Moment of Surrender (7:24): This one has Daniel Lanois written all over it. This wouldn’t be out of place on any Lanois solo album from the last 15 years.
Mellow, long and languorous, it takes its time creating a mood using deep bass, Arabic strings and soft vocals. Lanois told me a few weeks ago how proud he was of this song.
I don’t have the liner notes yet, but I wouldn’t be surprised if Danny gets a writing credit.
Unknown Caller (6:03): Another unusually long song for U2.
It sounds like the song starts in a riad (an interior garden of a Moroccan home) with birdsongs and other vaguely African/Muslim sounds.
Lanois and I also spoke of this song when we talked back in January. It definitely sounds like it had its origins in the original Fez sessions. Nice sing-a-long “Oh-oh-oh-oh-oh-oh” bits.
Should be a big concert favourite. Fabulous sounding church organ and….French horns?
I’ll Go Crazy If I Don’t Go Crazy Tonight (4:14): I wish I had time to study the lyrics of these first five songs.
When I talked to Lanois, he hinted that there was some sort of theme knitting the first five tracks together so when we got to “Get On Your Boots,” it would also make sense.
This track once again reminds me of something we might have heard on Achtung Baby. Man, the production is complex and dense.
This is not a record that most people will get the first, second or even third time through. There are so many layers going on here… (Rumour is that Will.i.am had something to do with this track. Thematically, some suggest that there’s an underlying nod towards mixed marriages.)
Get On Your Boots (3:25): I know this song leaves a lot of people cold—and I didn’t like it the first 25 times I heard it—but now I find myself turning it up every time it comes on the radio.
I’m not sure why so many people are turned off by this song, but when you hear it in the context of the album—track 6 in the running order—it somehow makes more sense.
Again, this is exactly what Lanois told me last month. Now I know what he means.
Stand Up Comedy (3:50): WTF? What kind of title is that for a U2 song?
U2 turns up the rock a little bit for the intro (a la “The Fly”) but then settles into a funky sort of groove that Sly and the Family Stone might have done in 1973. Imagine U2 if John Frusciante of the Chili Peppers was guesting on guitar. Sounds like the Edge spent a good deal of time with Stadium Arcadium…
Again, lots of layers here. I need more time with it. The guitar riff reminds me of some other song. Sometime from T-Rex? Some old Madchester song?
FEZ-Being Born (5:17): Back to Morocco and the soothing Buddha Bar influences of Daniel Lanois.
The first minute is one of the most experimental things I think we’ve heard U2 do with tape loops, echoed lyrics from the last song and odd sound effects.
Then it all kicks in to a tense mid-tempo contemplative track over complex rhythms. (Could this be the arranged marriage of two completely different songs? Or was it written to sound like this?)
White as Snow (4:41): Quiet beginning that wouldn’t be out of place on a Radiohead album.
At about 30 second, the Edge emerges on an acoustic guitar, with an arpeggio that sounds vaguely like it might fit in old-school Western movie. Bono comes in and laments about a variety of things in a ballad-y way.
Wait—is that a swell of French horns at about 2 minutes in? And now a mandolin? Definitely big and cinematic. Damn, I wish I had more time to examine the lyrics of all these songs.
There’s gotta be some themes and messages here… (Note: Reader Abdul-Haseeb Ahamad tells me it’s about a mortally soldier in Afghanistan and the thoughts that go through his head during the time it takes him to die.)
Breathe (5:00): This rocks in a 6/8 sort of way. Probably not a single.
I’m pretty sure I read that this was a leftover track from some earlier session.
More vaguely Middle-Eastern string about two-thirds the way through the song. Fairly pedestrian Edge guitar solo. (He can do better.) It feels about a minute too long.
Cedars of Lebanon (4:13): Very quiet intro that begins with a line about Bono waking up in his clothes and missing some kind of deadline.
Then he obsesses about an old Polaroid photo that he took off the fridge. Need more time to explore this one. Strangely quiet way to end the record.
I might have included the alternate take of “No Line on the Horizon” just to bookend the whole thing.
Other notes on the album:
While some early reviews have given “No Line” middling reviews, Rolling Stone says it’s a 5 out of 5. Britain’s Q magazine says the same thing.
Rick Rubin was involved in some of the earliest sessions for this album. You can see why he was turfed.
More on the Leak Itself
Early, early today, there was the briefest of moments when Getmusic.com.au—a legitimate download store make all the No Line songs available for download. A few people were paying attention and---well, it’s out now.
What’s interesting is that Getmusic is Universal Australia’s official download platform. And, of course, Universal is U2’s record label. Oops.
The Music Geek Blog - Explore Music
No Line on the Horizon,” Track-by-Track
One Saturday in November 2004, about two weeks before “How to Dismantle and Atomic Bomb” was scheduled to be released, an email popped into my inbox.
Although it appeared to have come from someplace in eastern Europe, it was probably anonymized in a million place.
“Want the new U2?” it said. “Here it is.”
I scrubbed the attached file with every anti-virus, anti-spyware and anti-malware program I had. Then I opened it. And there it was. I later learned from Bono himself that there had been a breach of security at the CD pressing plant.
A similar thing happened this morning just after 8am ET. I’m listening to the final and finished version of the album as I type this.
Apparently, there was a leak through an Australian online music store called Get Music at around 4am ET today. For a brief time, they apparently made the album available for sale.
Whether it was a human or software error is now irrelevant. I’ve got twelve fresh U2 songs playing in iTunes right now. The mix sounds finished and the running order is exactly what we’ve been told it would be.
General Impressions:
This is a big, expansive album that is in some ways reminiscent of both The Unforgettable Fire and Achtung Baby.
To my ears, it’s better than both How to Dismantle and Atomic Bomb and All That You Can’t Leave Behind making it—well, the best record they’ve done since Achtung Baby.
Although this is an Eno/Lanoid co-production, I seem to hear Lanois’ influence over that of Eno.
Casual fans won’t be impressed and generally dismissive of the album (and the band themselves), but the faithful will find more than enough to keep themselves occupied over the next while.
And it’ll be interesting to see how some of these new songs translate in concert. Rumours are of a world tour beginning in Spain in April, but who really knows?
What follows are my initial stream-of-consciousness/first impressions of the album. I’ve since added in new notes as I investigated things further throughout the morning. They appear in brackets.
No Line on the Horizon (4:12): Last week, an alternate take was making the rounds. The album version sounds much better to my ears than what we first heard.
Bono doesn’t seem strain to hit the high notes in the verses and actually adds a bit of a growl to his delivery.
The Edge’s guitars sound bigger and more robust in this mix, especially once the second version. I can’t help thinking that this song would have found a nice home on Achtung Baby.
It could have been the first single, but since it’s a mid-tempo song, it’s probably best as a second or third single.
Magnificent (5:24): Starts with ominous mid-tempo drums with a mixture of modern and retro keyboard-ish noises that could only emanate from an Eno/Lanois shop.
Glorious Edge guitar appears about 45 seconds in. It’s in a major key but achieves melancholic mood, much in the way Radiohead can do it. Wait—is that a muffled trumpet buried in the mix?
Probably the most Eno-esque song on the record. (With an edit, this could be a single.)
Moment of Surrender (7:24): This one has Daniel Lanois written all over it. This wouldn’t be out of place on any Lanois solo album from the last 15 years.
Mellow, long and languorous, it takes its time creating a mood using deep bass, Arabic strings and soft vocals. Lanois told me a few weeks ago how proud he was of this song.
I don’t have the liner notes yet, but I wouldn’t be surprised if Danny gets a writing credit.
Unknown Caller (6:03): Another unusually long song for U2.
It sounds like the song starts in a riad (an interior garden of a Moroccan home) with birdsongs and other vaguely African/Muslim sounds.
Lanois and I also spoke of this song when we talked back in January. It definitely sounds like it had its origins in the original Fez sessions. Nice sing-a-long “Oh-oh-oh-oh-oh-oh” bits.
Should be a big concert favourite. Fabulous sounding church organ and….French horns?
I’ll Go Crazy If I Don’t Go Crazy Tonight (4:14): I wish I had time to study the lyrics of these first five songs.
When I talked to Lanois, he hinted that there was some sort of theme knitting the first five tracks together so when we got to “Get On Your Boots,” it would also make sense.
This track once again reminds me of something we might have heard on Achtung Baby. Man, the production is complex and dense.
This is not a record that most people will get the first, second or even third time through. There are so many layers going on here… (Rumour is that Will.i.am had something to do with this track. Thematically, some suggest that there’s an underlying nod towards mixed marriages.)
Get On Your Boots (3:25): I know this song leaves a lot of people cold—and I didn’t like it the first 25 times I heard it—but now I find myself turning it up every time it comes on the radio.
I’m not sure why so many people are turned off by this song, but when you hear it in the context of the album—track 6 in the running order—it somehow makes more sense.
Again, this is exactly what Lanois told me last month. Now I know what he means.
Stand Up Comedy (3:50): WTF? What kind of title is that for a U2 song?
U2 turns up the rock a little bit for the intro (a la “The Fly”) but then settles into a funky sort of groove that Sly and the Family Stone might have done in 1973. Imagine U2 if John Frusciante of the Chili Peppers was guesting on guitar. Sounds like the Edge spent a good deal of time with Stadium Arcadium…
Again, lots of layers here. I need more time with it. The guitar riff reminds me of some other song. Sometime from T-Rex? Some old Madchester song?
FEZ-Being Born (5:17): Back to Morocco and the soothing Buddha Bar influences of Daniel Lanois.
The first minute is one of the most experimental things I think we’ve heard U2 do with tape loops, echoed lyrics from the last song and odd sound effects.
Then it all kicks in to a tense mid-tempo contemplative track over complex rhythms. (Could this be the arranged marriage of two completely different songs? Or was it written to sound like this?)
White as Snow (4:41): Quiet beginning that wouldn’t be out of place on a Radiohead album.
At about 30 second, the Edge emerges on an acoustic guitar, with an arpeggio that sounds vaguely like it might fit in old-school Western movie. Bono comes in and laments about a variety of things in a ballad-y way.
Wait—is that a swell of French horns at about 2 minutes in? And now a mandolin? Definitely big and cinematic. Damn, I wish I had more time to examine the lyrics of all these songs.
There’s gotta be some themes and messages here… (Note: Reader Abdul-Haseeb Ahamad tells me it’s about a mortally soldier in Afghanistan and the thoughts that go through his head during the time it takes him to die.)
Breathe (5:00): This rocks in a 6/8 sort of way. Probably not a single.
I’m pretty sure I read that this was a leftover track from some earlier session.
More vaguely Middle-Eastern string about two-thirds the way through the song. Fairly pedestrian Edge guitar solo. (He can do better.) It feels about a minute too long.
Cedars of Lebanon (4:13): Very quiet intro that begins with a line about Bono waking up in his clothes and missing some kind of deadline.
Then he obsesses about an old Polaroid photo that he took off the fridge. Need more time to explore this one. Strangely quiet way to end the record.
I might have included the alternate take of “No Line on the Horizon” just to bookend the whole thing.
Other notes on the album:
While some early reviews have given “No Line” middling reviews, Rolling Stone says it’s a 5 out of 5. Britain’s Q magazine says the same thing.
Rick Rubin was involved in some of the earliest sessions for this album. You can see why he was turfed.
More on the Leak Itself
Early, early today, there was the briefest of moments when Getmusic.com.au—a legitimate download store make all the No Line songs available for download. A few people were paying attention and---well, it’s out now.
What’s interesting is that Getmusic is Universal Australia’s official download platform. And, of course, Universal is U2’s record label. Oops.
The Music Geek Blog - Explore Music
CANOE -- JAM! Music - Artists - Album Review: NO LINE ON THE HORIZON
3.5/5
Personally I think its ridiculous to review the album off of one listen. Q and RS gave it 5 stars and I think those magazines are in the select few magazines that music enthusiasts care about. However, looks like U2 is going to get hammered in the mainstream media. To be fair, 70% isn't bad by any means, but among the bloggers I'm especially seeing a lot of backlash.
Some people already hated U2 because they weren't 80's U2 anymore. Then some hated them because Bono started wearing sunglasses and meeting with politicians. Then some hated them because the last 2 albums were super successful. Now more people are going to hate them because this isn't a radio-friendly album.
3.5/5
Personally I think its ridiculous to review the album off of one listen. Q and RS gave it 5 stars and I think those magazines are in the select few magazines that music enthusiasts care about. However, looks like U2 is going to get hammered in the mainstream media. To be fair, 70% isn't bad by any means, but among the bloggers I'm especially seeing a lot of backlash.
Some people already hated U2 because they weren't 80's U2 anymore. Then some hated them because Bono started wearing sunglasses and meeting with politicians. Then some hated them because the last 2 albums were super successful. Now more people are going to hate them because this isn't a radio-friendly album.
Well, I can see what you're saying. But I guess few people, even in a U2 message board, would make the argument that their last two albums deserved a better review than they received. On the contrary, I would say. Apart from the past two albums, U2 never really got a bad review from Pitchfork (despite their somewhat negative comments about Zooropa). I think the comparison to AC and Radiohead is not really accurate, particularly with the former, as to a large extent the high grades are related to the ground-breaking artistic work of these bands, something that U2 didn't attempt in the 00s.
Lemonfix
Refugee
RS has given it 5 stars? I would be excited, but they also gave Springsteen's last one 5 stars and Mick Jagger's SOLO PROJECT a few years ago 5 stars. Basically if you're friends with wenner, or if you've been around for a while, they'll give you a 4 or 5 star rating. I wonder if they'll call it the 4th masterpiece?
They did call it a masterpiece (its on the cover).
Zoocoustic
War Child
Is the issue out yet? Can someone post the text?
Oh, I don't think the given rates are wrong. Bomb getting 6.9 is kinda fair, I'm just saying that a U2 fan that doesn't like bands that Pitchfork tend to be biased get the feeling "Why can't U2 recieve such grades?". Ok, I don't like AC and I do think that 9.6 is a little too much, but I do understand why they gave that rate. And I love Radiohead, but to me HTTT getting 9.3 is a little too much. But that's subjective. So, I don't disagree with their rates, but they do are biased and given the "low" U2 rates and Pitchfork's arrogance we get a snowball effect where it seems that they hate U2.
Anyway, I do have a problem with ATYCLB getting 5.0 (I think).
Zoocoustic
War Child
RS gave the following rankings:
Rattle and Hum - 4 stars
AB - 4 1/2
Zooropa - 4
Pop - 4
ATYCLB - 4
HTDAAB - 4
If NLOTH gets 5, wow.
Rattle and Hum - 4 stars
AB - 4 1/2
Zooropa - 4
Pop - 4
ATYCLB - 4
HTDAAB - 4
If NLOTH gets 5, wow.
Oh, I don't think the given rates are wrong. Bomb getting 6.9 is kinda fair, I'm just saying that a U2 fan that doesn't like bands that Pitchfork tend to be biased get the feeling "Why can't U2 recieve such grades?". Ok, I don't like AC and I do think that 9.6 is a little too much, but I do understand why they gave that rate. And I love Radiohead, but to me HTTT getting 9.3 is a little too much. But that's subjective. So, I don't disagree with their rates, but they do are biased and given the "low" U2 rates and Pitchfork's arrogance we get a snowball effect where it seems that they hate U2.
Anyway, I do have a problem with ATYCLB getting 5.0 (I think).
Yeah, I definitely see your point. I may agree with you on HTTT. I do think that TUF and AB will both get good reviews once they are re-released. And I'm expecting a good review of NLOTH as well.
Anyways, I tend to get worked up about Pitchfork because it's such an easy target, and since it has introduced a ton of good music to me I respect it a lot.
Edit: If anything, I think 5.0 is too much for ATYCLB. Specially if you consider that they gave a 0 to Zaireeka (I'm conceding your point here, you see
)thefly1979
Acrobat
- Joined
- Jan 19, 2009
- Messages
- 336
thats true. and i don´t give a shit about reviews. i read them..but thats it. and i think that this album wasn´t made to catch the attention of editors who don´t know anything about music etc. it´s made for the music freaks who wanna listen to this entire thing and don´t write about songs.
BANZAI
War Child
- Joined
- Dec 8, 2004
- Messages
- 575
What does a Rolling stone review actually mean?!
They gave The Unforgettable Fire only 3 stars (deserves imo at least 4 stars), and HTAAB and ATYCLB are rated too high (deserve imo 3,5 star)
They gave The Unforgettable Fire only 3 stars (deserves imo at least 4 stars), and HTAAB and ATYCLB are rated too high (deserve imo 3,5 star)
Zoocoustic
War Child
^If you want to argue that point, what does any individual review mean? Simply one person's opinion. Supposedly that person has had more exposure than the average joe to whatever industry is being reviewed. Beyond that, it doesn't mean anything, when taken alone.
However, I do believe you can gain valuable information from several reviews of a single item. If the overwhelming opinion is that it is good, most people will probably agree. And vice versa. It doesn't cover all the bases, but it gives you a good feel for the product.
I certainly don't go purchase an album that has received almost across-the-board negative reviews, even when I might be able to find one or two that liked it.
However, I do believe you can gain valuable information from several reviews of a single item. If the overwhelming opinion is that it is good, most people will probably agree. And vice versa. It doesn't cover all the bases, but it gives you a good feel for the product.
I certainly don't go purchase an album that has received almost across-the-board negative reviews, even when I might be able to find one or two that liked it.
Bernie02
The Fly
Shawn Bonneau
New Yorker
NO LINE ON THE HORIZON
By Shawn Bonneau
I have had the chance to hear U2’s 12th studio album, “No Line on the Horizon” all the way through. I listened to the CD three times now. The songs are ordered from my personal favorite to least. Remembering, of course, that U2 songs tend to swap around in my list of favorites. Let’s begin..
================================================================
STAND UP COMEDY
This one made it to my favorite spot after three full length listens. “SUC” does not indeed SUC. It is straight out rock white The Edge chopping away at the guitar. The lyrics are easy to fallow and are very catchy. I give this song 10 points. It is rare that I give U2 10 points. This one will be a rocker live.
Favorite lyric: “Stop helping God across the road like a little old lady”
UNKNOWN CALLER
Every U2 fan will enjoy this one. UC is very mellow. It has a laid back “ohh”, classic Bono style, chorus. Producer, Brian Eno has definitely put his say into this one. I can see U2 working it a bit differently live, like most songs. I give this one 10 points as well
Favorite lyric: “Restart and reboot yourself, you’re free to go”
MAGNIFICENT
Magnificent is, well, just that. I love the slow build up with the Nintendo type sound effects that are displayed throughout the album. The Edge’s guitar is outstanding. It chimes it’s way through the entire song. This song, in my opinion, would be the best concert opener. Another song with 10 points. I have never given a U2 more than two songs with 10 points!
Favorite lyric: “Only love can leave such a mark, only love can leave such a scar”
BREATHE
Straight out rock right here. Breathe has it all. Bono rambles on like Bob Dylan in the verses, leaving the chorus duet with The Edge chilling. Again, Edge’s guitar playing is top notch. This song will leave you wanting more. Again, 10 points!
Favorite lyric: “Everyday I have to find the courage to walk out into the street with arms out, got a love you can’t defeat”
I’LL GO CRAZY IF I DON’T GO CRAZY TONIGHT
Keeping strong, IGC is another rocker. The chorus is classic U2. I give this one 9 points out of 10. Starting to dip, but not too far.
Favorite lyric: “Do you believe me or are you doubt, we’re gonna make it all the way to the light”
NO LINE ON THE HORIZON
The title track is pretty good. Not the best, but good. It will be a great live rocker, that is a given. Dipping down to 7 out of 10 points.
Favorite lyric: “I know a girl who’s like the sea, I can see her changing everyday for me”
CEDARS OF LEBANON
Very Johnny Cash here. I love this song. Quiet, good closer for the album. I can see them doing this acoustic on the tour. 7 point out of 10.
Favorite lyric: “Choose your enemies wisely cause they will define you”
MOMENT OF SURRENDER
This is mostly a jam, some Brian Eno spots. Good piano playing and great solos by The Edge. It’s long and trippy like a classic rock CD. It’s almost something you’d hear Eric Clapton play. 6 out of 10 points.
Favorite lyric: “It’s not if I believe in love, does love believe in me”
FEZ - BEING BORN
Title from the Fez Morocco songwriting sessions is a given. A very Revolution 9 style. It sounds like Brian Eno got drunk one night and pasted a bunch of audio together. But, this is very cleaver. It is not a bad track. 5 out of 10 points.
Favorite lyric: “Let me in the sound”
GET ON YOUR BOOTS
Perhaps not the best choice for a lead off single. GOYB does have it moments, but they are hard to come by. Live, it just doesn’t work well. 3 out of 10 points.
Favorite lyric: “The future needs a big kiss”
WHITE AS SNOW
Another Bono story telling time. It’s an okay song, but not the best. Very slow. Weird placing on the album. It’s third to last, with a rocker afterwards, before another slow song. I give it 2 out of 10 points.
Favorite lyric: “Where might we find a land as white as snow”
SMB
By Shawn Bonneau
I have had the chance to hear U2’s 12th studio album, “No Line on the Horizon” all the way through. I listened to the CD three times now. The songs are ordered from my personal favorite to least. Remembering, of course, that U2 songs tend to swap around in my list of favorites. Let’s begin..
================================================================
STAND UP COMEDY
This one made it to my favorite spot after three full length listens. “SUC” does not indeed SUC. It is straight out rock white The Edge chopping away at the guitar. The lyrics are easy to fallow and are very catchy. I give this song 10 points. It is rare that I give U2 10 points. This one will be a rocker live.
Favorite lyric: “Stop helping God across the road like a little old lady”
UNKNOWN CALLER
Every U2 fan will enjoy this one. UC is very mellow. It has a laid back “ohh”, classic Bono style, chorus. Producer, Brian Eno has definitely put his say into this one. I can see U2 working it a bit differently live, like most songs. I give this one 10 points as well
Favorite lyric: “Restart and reboot yourself, you’re free to go”
MAGNIFICENT
Magnificent is, well, just that. I love the slow build up with the Nintendo type sound effects that are displayed throughout the album. The Edge’s guitar is outstanding. It chimes it’s way through the entire song. This song, in my opinion, would be the best concert opener. Another song with 10 points. I have never given a U2 more than two songs with 10 points!
Favorite lyric: “Only love can leave such a mark, only love can leave such a scar”
BREATHE
Straight out rock right here. Breathe has it all. Bono rambles on like Bob Dylan in the verses, leaving the chorus duet with The Edge chilling. Again, Edge’s guitar playing is top notch. This song will leave you wanting more. Again, 10 points!
Favorite lyric: “Everyday I have to find the courage to walk out into the street with arms out, got a love you can’t defeat”
I’LL GO CRAZY IF I DON’T GO CRAZY TONIGHT
Keeping strong, IGC is another rocker. The chorus is classic U2. I give this one 9 points out of 10. Starting to dip, but not too far.
Favorite lyric: “Do you believe me or are you doubt, we’re gonna make it all the way to the light”
NO LINE ON THE HORIZON
The title track is pretty good. Not the best, but good. It will be a great live rocker, that is a given. Dipping down to 7 out of 10 points.
Favorite lyric: “I know a girl who’s like the sea, I can see her changing everyday for me”
CEDARS OF LEBANON
Very Johnny Cash here. I love this song. Quiet, good closer for the album. I can see them doing this acoustic on the tour. 7 point out of 10.
Favorite lyric: “Choose your enemies wisely cause they will define you”
MOMENT OF SURRENDER
This is mostly a jam, some Brian Eno spots. Good piano playing and great solos by The Edge. It’s long and trippy like a classic rock CD. It’s almost something you’d hear Eric Clapton play. 6 out of 10 points.
Favorite lyric: “It’s not if I believe in love, does love believe in me”
FEZ - BEING BORN
Title from the Fez Morocco songwriting sessions is a given. A very Revolution 9 style. It sounds like Brian Eno got drunk one night and pasted a bunch of audio together. But, this is very cleaver. It is not a bad track. 5 out of 10 points.
Favorite lyric: “Let me in the sound”
GET ON YOUR BOOTS
Perhaps not the best choice for a lead off single. GOYB does have it moments, but they are hard to come by. Live, it just doesn’t work well. 3 out of 10 points.
Favorite lyric: “The future needs a big kiss”
WHITE AS SNOW
Another Bono story telling time. It’s an okay song, but not the best. Very slow. Weird placing on the album. It’s third to last, with a rocker afterwards, before another slow song. I give it 2 out of 10 points.
Favorite lyric: “Where might we find a land as white as snow”
SMB
last unicorn
Blue Crack Addict
They just couldn't be bothered to give 4 stars, could they? Sometimes this rating is pathetic. Just look what other albums get 4 star ratings. Just because it's U2, half a star has to go.
lazarus
Blue Crack Supplier
Isn't this for official, published reviews?
If you think people care what you think, put it in one of the other threads.
oceane
Refugee
NLOTH (album) fan reviews
The other thread has been closed due to reaching 1,000 posts so I thought we should have a new one, for Interferencers' reviews as opposed to journalists.
This is mine.
It's part review, part stream of consciousness/essay/telling you all about my day so apologies for the length. I don’t really expect people will read the whole thing, but I had a very intense experience with the album today and need to share
When I found out the album had leaked this morning, I decided not to go to work (I have the kind of job where I can do that
) and spend the day listening to the album. After the first listen I was feeling positive but a bit strange. I wasn’t too sure what to make of it.
I went walking around the streets of London with No Line on the Horizon on my iPod, then took a double-decker bus trip down to the Thames. By the time I got to the river, I had listened to the album about 4 times and it was sinking in nicely.
It was a typically grey London day, but somehow it fitted the mood of this album.
At London Bridge I put in on from the beginning again. No Line on The Horizon starts and I’m thinking how this is such a perfect opener for this album. So dense, atmospheric, and unique. To me this song does not sound like anything U2 has done before, and sets the tone perfectly for what is to come. Is there anyone out there who really feels that this album is not a departure for U2, that it sounds like the last 2? Sure, it’s probably not as radical a reinvention as Achtung Baby, but to me it immediately sounded unique and different. I don’t think this song is a classic, or makes that much sense on its own, and I doubt it will be in many people’s Top 10 list, but it’s perfect where it is.
I’m walking by the river when Magnificent starts, and I feel like walking faster, no, I want to run! I’m walking under the Millenium Bridge, passing the Tate Modern, almost floating around. I’m happy, probably smiling and looking stupid, but wow what a song! Probably my favourite if I had to choose one. The slide solo with the keyboards/strings/voices in the background is the best part, simply amazing. Completely U2 and completely new at the same time. This will KILL live
The first time I heard Moment of Surrender I was a bit disappointed, and not getting the signing/melody. I felt the music was so beautiful and smooth, and when Bono came in screaming I thought “What the hell Bono!? This was totally uncalled for, calm down!” But after a few times I think the verses are beautiful, he sings them really well, and it’s unbelievably emotional and naked in a way that only Bono can deliver. As I’m listening to the song I’m intensely looking at the passers by with tears in my eyes. They must be wondering what is wrong with me. But I must admit that I still do not like the chorus. It’s kind of cliché and I’m not a fan of the gospel choral thing happening. I think the song is amazing but the chorus kind of ruins it for me, especially the ATM line. Makes me cringe, sorry…
When Unknown Caller starts I’m making my way to Waterloo Bridge. This is one of my favourite places in London, walking pass the National Theatre and BFI. What a completely unique song. I wished I didn’t know the lyrics and what they are about before I listened to it, because at first I was finding it a bit distracting. But this song is so great because it mixes frankly weird lyrics with a super-catchy but yet unheard chorus, classic Edge guitar a la Walk On… and a bloody church organ! Could anybody else but U2 write a song like that? Amazing, I love it.
The first songs on the album are not totally dark, but there is a certain intensity to them, so when Crazy Tonight comes out it just lifts you right up. Pure joy! At this point I am making my way under the Jubilee Bridges, and I’m so deliriously happy I might as well start dancing with random strollers on the Thames pathway. This song is so enjoyable, if only you can allow yourself not to think about it too carefully. It’s not a particularly original song, but it doesn’t matter. When the cheesy-but-oh-so-uplifting guitar part after the ‘baby baby’ part starts I’m almost at the London Eye, there is as usual people everywhere, and there is a carousel next to it, with bright shiny lights and kids running everywhere. This is so perfect I’m feeling overwhelmed with joy, and when I get on the Jubilee Bridge I realise I literally flew up the stairs. It’s my favourite bridge in London, you have the most amazing view over the London Eye and the House of Parliament. What a moment. I realise that to truly enjoy U2, you have to be someone devoid of any cynicism or shame. This is why I will probably never have another favourite band. This song sums up this feeling so perfectly well.
As I walk across the bridge Get on Your Boots comes on… and it kind of kills the mood! It think this album is the most cohesive, ‘whole’ U2 has done since The Unforgettable Fire, maybe ever. But to me Boots and Stand-Up are the exception, I’m not sure they completely fit, although they do add a nice rocking break. I still like Boots, but I don’t know if I agree with everyone who says it fits there perfectly.
Stand Up Comedy is a really great rock song, quite sophisticated in fact. The only thing preventing me from completely loving it are the lyrics, which I find quite cringe-worthy, while the rest of the album is seeing Bono at the top of his game, and producing his best lyrical work since Pop in my opinion. But in some way I DO like those lyrics. I love how Bono is able to make fun of himself, this reminds why I respect him so much. Catchy song too. But will this stand the test of time or become another All Because Of You (i.e. good rocker but no classic)? Time will tell. Right now it sounds way better to me, but it could be just because it’s new.
When Fez-Being Born comes on I am back on the grey, sombre and majestic streets of London. Wow, this is like October meets UF meets Zooropa meets Passengers. I LOVE this. The ‘oooohhh’ parts bring me right back to when I was discovering U2 12 years ago, digging into the early records and being so overwhelmed, as a 17 years old discovering who she was, at the sheer emotion coming out of pre-JT U2. It was unlike anything I had ever heard before. I remember the first time I came to England and Ireland, 10 years ago and still in my U2 honeymoon, walking on the grey and brown streets of Dublin and London I felt that I could really ‘get’ Boy and October. I’m making my way up Northumberland Street and it’s starting to get darker.
White As Snow starts with its beautifully haunting piano and I am walking around Trafalgar Square. I stop and lay against one of the statue. I’m looking at everyone, tourists from all over the world talking pictures, kids climbing up and down the lion statues. There is a guy next to me speaking an unidentified African language to a friend, and I’m looking at his face intensely as the gorgeous horns part comes on. He is not noticing me, but his face seems so beautiful to me with the music. Listening to this album outside transforms everything into a movie. Is this the most cinematic music U2 has ever created? I think it probably is. This song is so beautiful and emotional, I now have tears coming down my face, alone, in the middle of a crowd. Who cares. That’s what U2 has always been, shamelessly emotional. Maybe not everyone gets it, but they don’t know the feeling they’re missing.
And this is exactly what the next song is about. Breathe! Joy again! Walking out into the streets I am. And if I could sign my heart out I would. What a great chorus! Love the verses too, I like how the way Bono signs makes it difficult to concentrate on the lyrics. I’d rather worry about that later.
Cedars of Lebanon is a brilliant closer. I’m not usually such a big fan of the obligatory slow song at the end of U2 records, but this one is different. It brings me back to my previous existential mood as I’m getting back on the bus to go back home. I love the contrast with the semi-spoken verse and the beautiful operatic chorus.
I can’t rank this album or say if it’s better than JT and AB, but what is for sure is that it really brings you on a journey, and I don’t know if it’s possible to really ‘get’ any of the songs on their own. For that reason I’m not sure how successful it will be commercially, as I think only Magnificent and Crazy Tonight have immediate (and individual) appeal. I can see how people are not sure there are any all-time classics in there either, but as an album, so far it’s as brilliant as it gets to me. I highly recommend putting it on your iPod/other listening device and walking around with it, the songs really open up when taken out into the world.
I’ll see what I think in a few months, but right now, I just can’t believe how this band can still, after all these years, have this kind of effect on me. I have fallen in love, once again
The other thread has been closed due to reaching 1,000 posts so I thought we should have a new one, for Interferencers' reviews as opposed to journalists.
This is mine.
It's part review, part stream of consciousness/essay/telling you all about my day so apologies for the length. I don’t really expect people will read the whole thing, but I had a very intense experience with the album today and need to share
When I found out the album had leaked this morning, I decided not to go to work (I have the kind of job where I can do that
) and spend the day listening to the album. After the first listen I was feeling positive but a bit strange. I wasn’t too sure what to make of it.I went walking around the streets of London with No Line on the Horizon on my iPod, then took a double-decker bus trip down to the Thames. By the time I got to the river, I had listened to the album about 4 times and it was sinking in nicely.
It was a typically grey London day, but somehow it fitted the mood of this album.
At London Bridge I put in on from the beginning again. No Line on The Horizon starts and I’m thinking how this is such a perfect opener for this album. So dense, atmospheric, and unique. To me this song does not sound like anything U2 has done before, and sets the tone perfectly for what is to come. Is there anyone out there who really feels that this album is not a departure for U2, that it sounds like the last 2? Sure, it’s probably not as radical a reinvention as Achtung Baby, but to me it immediately sounded unique and different. I don’t think this song is a classic, or makes that much sense on its own, and I doubt it will be in many people’s Top 10 list, but it’s perfect where it is.
I’m walking by the river when Magnificent starts, and I feel like walking faster, no, I want to run! I’m walking under the Millenium Bridge, passing the Tate Modern, almost floating around. I’m happy, probably smiling and looking stupid, but wow what a song! Probably my favourite if I had to choose one. The slide solo with the keyboards/strings/voices in the background is the best part, simply amazing. Completely U2 and completely new at the same time. This will KILL live
The first time I heard Moment of Surrender I was a bit disappointed, and not getting the signing/melody. I felt the music was so beautiful and smooth, and when Bono came in screaming I thought “What the hell Bono!? This was totally uncalled for, calm down!” But after a few times I think the verses are beautiful, he sings them really well, and it’s unbelievably emotional and naked in a way that only Bono can deliver. As I’m listening to the song I’m intensely looking at the passers by with tears in my eyes. They must be wondering what is wrong with me. But I must admit that I still do not like the chorus. It’s kind of cliché and I’m not a fan of the gospel choral thing happening. I think the song is amazing but the chorus kind of ruins it for me, especially the ATM line. Makes me cringe, sorry…
When Unknown Caller starts I’m making my way to Waterloo Bridge. This is one of my favourite places in London, walking pass the National Theatre and BFI. What a completely unique song. I wished I didn’t know the lyrics and what they are about before I listened to it, because at first I was finding it a bit distracting. But this song is so great because it mixes frankly weird lyrics with a super-catchy but yet unheard chorus, classic Edge guitar a la Walk On… and a bloody church organ! Could anybody else but U2 write a song like that? Amazing, I love it.
The first songs on the album are not totally dark, but there is a certain intensity to them, so when Crazy Tonight comes out it just lifts you right up. Pure joy! At this point I am making my way under the Jubilee Bridges, and I’m so deliriously happy I might as well start dancing with random strollers on the Thames pathway. This song is so enjoyable, if only you can allow yourself not to think about it too carefully. It’s not a particularly original song, but it doesn’t matter. When the cheesy-but-oh-so-uplifting guitar part after the ‘baby baby’ part starts I’m almost at the London Eye, there is as usual people everywhere, and there is a carousel next to it, with bright shiny lights and kids running everywhere. This is so perfect I’m feeling overwhelmed with joy, and when I get on the Jubilee Bridge I realise I literally flew up the stairs. It’s my favourite bridge in London, you have the most amazing view over the London Eye and the House of Parliament. What a moment. I realise that to truly enjoy U2, you have to be someone devoid of any cynicism or shame. This is why I will probably never have another favourite band. This song sums up this feeling so perfectly well.
As I walk across the bridge Get on Your Boots comes on… and it kind of kills the mood! It think this album is the most cohesive, ‘whole’ U2 has done since The Unforgettable Fire, maybe ever. But to me Boots and Stand-Up are the exception, I’m not sure they completely fit, although they do add a nice rocking break. I still like Boots, but I don’t know if I agree with everyone who says it fits there perfectly.
Stand Up Comedy is a really great rock song, quite sophisticated in fact. The only thing preventing me from completely loving it are the lyrics, which I find quite cringe-worthy, while the rest of the album is seeing Bono at the top of his game, and producing his best lyrical work since Pop in my opinion. But in some way I DO like those lyrics. I love how Bono is able to make fun of himself, this reminds why I respect him so much. Catchy song too. But will this stand the test of time or become another All Because Of You (i.e. good rocker but no classic)? Time will tell. Right now it sounds way better to me, but it could be just because it’s new.
When Fez-Being Born comes on I am back on the grey, sombre and majestic streets of London. Wow, this is like October meets UF meets Zooropa meets Passengers. I LOVE this. The ‘oooohhh’ parts bring me right back to when I was discovering U2 12 years ago, digging into the early records and being so overwhelmed, as a 17 years old discovering who she was, at the sheer emotion coming out of pre-JT U2. It was unlike anything I had ever heard before. I remember the first time I came to England and Ireland, 10 years ago and still in my U2 honeymoon, walking on the grey and brown streets of Dublin and London I felt that I could really ‘get’ Boy and October. I’m making my way up Northumberland Street and it’s starting to get darker.
White As Snow starts with its beautifully haunting piano and I am walking around Trafalgar Square. I stop and lay against one of the statue. I’m looking at everyone, tourists from all over the world talking pictures, kids climbing up and down the lion statues. There is a guy next to me speaking an unidentified African language to a friend, and I’m looking at his face intensely as the gorgeous horns part comes on. He is not noticing me, but his face seems so beautiful to me with the music. Listening to this album outside transforms everything into a movie. Is this the most cinematic music U2 has ever created? I think it probably is. This song is so beautiful and emotional, I now have tears coming down my face, alone, in the middle of a crowd. Who cares. That’s what U2 has always been, shamelessly emotional. Maybe not everyone gets it, but they don’t know the feeling they’re missing.
And this is exactly what the next song is about. Breathe! Joy again! Walking out into the streets I am. And if I could sign my heart out I would. What a great chorus! Love the verses too, I like how the way Bono signs makes it difficult to concentrate on the lyrics. I’d rather worry about that later.
Cedars of Lebanon is a brilliant closer. I’m not usually such a big fan of the obligatory slow song at the end of U2 records, but this one is different. It brings me back to my previous existential mood as I’m getting back on the bus to go back home. I love the contrast with the semi-spoken verse and the beautiful operatic chorus.
I can’t rank this album or say if it’s better than JT and AB, but what is for sure is that it really brings you on a journey, and I don’t know if it’s possible to really ‘get’ any of the songs on their own. For that reason I’m not sure how successful it will be commercially, as I think only Magnificent and Crazy Tonight have immediate (and individual) appeal. I can see how people are not sure there are any all-time classics in there either, but as an album, so far it’s as brilliant as it gets to me. I highly recommend putting it on your iPod/other listening device and walking around with it, the songs really open up when taken out into the world.
I’ll see what I think in a few months, but right now, I just can’t believe how this band can still, after all these years, have this kind of effect on me. I have fallen in love, once again
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