U2 : No Line On The Horizon :: Album Review
I thought U2’s ‘No Line On The Horizon’ needed a thorough review of each track so that readers could get a better idea of where the band was going on this supposedly experimental new album. Below you’ll see my semi-coherent thoughts, and hopefully you’ll feel the need to respond. As a long time admirer of U2, with the release of “No Line On The Horizon” I tender my resignation in their fan club.
U2’s new album, ‘No Line On The Horizon’ opens with a stinker. Although I grievously reviewed a remix of the title track by Will.i.am as the opener, I still stand by its original declaration of the track being weak. Sample lyrics “No Line On The Horizon” feature the insipid introduction “…I know a girl who’s like the sea / she’s changing everything for me / Who-ah, Who-ah, Who-ah/ One day she’s still, one day she swells, you can hear the universe in her sea shells/. Did the same man that penned the ‘War’ and ‘Achtung Baby’ albums write this grade school poetry? How the mighty have fallen. This version of the track features a little more sonic experimentation as an ambient keyboard bounces along The Edge’s effected guitar riffs.
“Magnificent” is a keyboard heavy trip-hop effort with processed drums that fares a little better than the opener. Soaked in guitar delay, “Magnificent” at least feels like a fleshed out U2 song rather than the dribble that is “No Line..” Bono’s vocal is about a million times better as well and it doesn’t sound like he’s yelping like a wounded animal. The Edge’s guitar chimes seem to revel in their delayed tones while Bono’s falsetto plays along with the melody at times.
“Moment of Surrender” reminded me a lot of Bruce Springsteen’s “Streets of Philadelphia.” The staccato drum intro mixed with the heavy keys just carried out that self-important vibe. Bono’s delivery borders on the melodramatic and veers towards self-parody, “I tie myself with wire to let the horses run free/ playing with the fire until the fire played with me.” There’s a litany of clichéd imagery flowing freely in this song but not limited to mentioning of rare stones, desire, uncertainty, weddings, rhythm of souls, leaves and falling to your knees. Did I mention the song transforms into a pseudo-gospel epic? Yuck. This track goes on far too long as it meanders for over 7 minutes.
“Unknown Caller” is another long track, and echoes the “Who-ahs” of “No Line On The Horizon” with similar vocal tricks and non-sequiturs of “Sunshine, Sunshine.” All of sudden I feel like I’m thrust into a watered down Coldplay track as Bono recalls the moment his phone dialing skills went into the crapper. There’s even an unintentionally hilarious bit where the band sing Apple O/S commands in unison, “Force quit/ Move to Trash.” Trust me Bono, I only wish I could, as this song is absolute garbage.
“I’ll Go Crazy If I Don’t Go Crazy Tonight” is a song that attempts to rock? At this point, the album is starting to sound the same and this track is as forgettable as the last. Bono’s falsetto when he sings the title makes me giggle as it just sounds ridiculous coming from this man in a song that throws everything into it hoping it will stick.
“Get On Your Boots” is a refreshing change of pace from the mediocrity that has preceded it. I’ll still stick to my original review, which is copied and pasted for your reading enjoyment. “Get On Your Boots” is the first single from U2’s 12th album ‘No Line On The Horizon’ and marks a change in direction for the influential rock band. The track opens with a serpentine down tuned guitar riff while polyrhythmic percussion plays off Bono rattling lyrics like a post rock Dylan attempting a new version of “Subterranean Homesick Blues.” Bono manages to sum up the current zeitgeist as he also mentions gasoline, submarines, war and death into a song that somewhat apes Elvis Costello’s “Pump It Up.” Lyrically this song is a little more developed and mature than the previous album’s 1st single, “Vertigo.”
“Stand Up Comedy” has an unfortunate title and features retro sounding guitars surrounded by an ultimately stupid lyric, “Trying to help God across the road like a little old lady.” At this point in the album, U2 are treading previously covered topics in songs that seem to go from bad to worse. I couldn’t even make it through the rest of this song, it’s that awful.
“Fez-Being Born” begins interestingly enough with its Middle Eastern rhythms refraining upon the “…let me hear the sound, let me hear the sound..” lyrics found in “Get On Your Boots.” “Fez-Being Born” mutates into a fuzzed out piano ballad which goes nowhere for 5 minutes.
The sparse “White As Snow” fares better as it features a reflective narrative by Bono about some war-torn area. The subtle horns are also a nice touch. Definitely one of the stronger tracks on this album and an interesting change of pace to boot.
“Breathe” features a menacing intro that has me worried because on this album, menace usually equals mediocrity. As soon as Bono mentions a cockatoo, I immediately lose any interest in this song that sounds like a demo that hasn’t been fleshed out in the studio.
“Cedars of Lebanon” closes the album on a meditative note. “Cedars of Lebanon” is a mature take on the current political crisis in the middle east and sadly reminds me that if U2 had written an album of similar songs then “No Line On The Horizon” wouldn’t be such a lousy album.
As it stands, U2 have not written a consistent album since 1993’s ‘Zooropa.’ 16 years is an eternity between good albums, and I’m tired of waiting for U2 to get back on track.
Rating: 
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billl
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Felipe
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Fabrizio
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Steve
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George
