NO LINE ON THE HORIZON (U2, 2009)
Artist: U2 (C+)
Recording Date: 2008
Release Date: Feb 27, 2009 Irl – Mar 03, 2009 US
Record Label: Interscope Records
Producer: Brian Eno, Daniel Lanois and Steve Lillywhite
Rating: 7
Era: New Wave (1976-???)
Subgenre: Post New Wave (1990-???)
Best Song: Magnificent, no doubt.
Tracklist: 1) No Line On The Horizon; 2) Magnificent; 3) Moment Of Surrender; 4) Unknown Caller; 5) I’ll Go Crazy If I Don’t Go Crazy Tonight; 6) Get on Your Boots; 7) Stand Up Comedy; 8) Fez – Being Born; 9) White As Snow; 10) Breathe; 11) Cedars of Lebanon.
After releasing terrible pieces of garbage like “How To Dismantle An Atomic Bomb" and “All That You Can't "Leave Behind", which are an insult to the intelligence of any listener, U2 delivers a decent record, their best in at least 12 years since "Pop." It's not a masterpiece, but the band remembers that they once knew how to create great music and not just the stupid, commercial pop noise that served as background music for Reverend Bono's sermons. There's music here. There aren't many new elements or much experimentation; what U2 had to offer they already did in the 80’s, and since then they've repeated the same formula and tricks. But this time, on first listen, the music is much more pleasant and less annoying than their last two albums.
At first glance, one might think that the radical change in the sound of this album is due to a change of producer. The truth is that Lillywhite and Eno were also involved in “How To Dismantle…” and “All That You Can't "Leave ..." Perhaps the difference then lies with Lanois, since the last time the three producers were together was none other than on Achtung Baby. Rolling Stone actually compares these albums and says that this release is a work of art of the same caliber. I find that exaggerated, like everything RS says: Achtung Baby is one of the works that crowned the transition from the 80’s to the 90’s; No Line is undoubtedly good, but its merit lies solely in U2's return to quality music, in settling a debt the Irish band had owed their audience for a long time, but it won't define the sound of this first decade of the millennium.
There's something that needs to be mentioned. Originally, this album was going to be produced by Rick Rubin, known for his aggressive sound and powerful walls of sound that might suit Metallica or Korn, but not U2. Having already recorded some songs, U2 decided to start from scratch, composing over 60 tracks, carefully selecting their material, and returning to the producers of their best album of the 90’s, with a result that's well worth it. So, perhaps any producer could have been used, but to be honest, there's a noticeable increase in the band's commitment to the music and their fans from the very first notes, and in the way they took the songwriting, recording, and production process with complete seriousness. It's a commitment they had forgotten for 12 years, leaving them in a state of "Numb", making complacent and predictable music with no intention other than to rake in millions and make fools of us while the Grammys showered them with awards for mediocre and lamentable work.
The album is crafted with the raw energy of rookies and the experience and maturity of a band nearly 30 years old. These rockers rock out with everything they've got, they're electrifying, they have real energy, big riffs, and they're not just distorted guitars that sound like imitations of U2 knock-offs, like the infamous “Elevation” or “Vertigo”. The details are meticulously crafted, the instrumentation is more elaborate, and this time keyboards and orchestras do appear to support The Edge's pedalboard. The guitar solos are cold and precise, like all of U2's, but overall they're well executed and fit perfectly into the songs, becoming an extension of them rather than a forced addition for the guitarist's "showmanship." Listen to “Magnificent”, for example . The quieter songs, except for the last one, achieve sublime and deeply moving atmospheres.
On this album, U2 breaks free from the stereotype they had created for themselves. It's not that it doesn't sound like U2, nor that they don't use all the tricks and techniques these old sea dogs have learned over the years, but they present us with multi-part songs and tracks much longer than what we're used to. And above all, it's U2's return to elaborate and intelligent harmonies. They aren't surprising or overly risky because they bear U2's signature, but they hadn't done anything like this in 16 years, a masterful and devilish handling of harmonies—except in a few isolated songs.
The album opens with the title track. "No Line On The Horizon" begins with a linear, stippled bass line, a rather understated Larry Mullen accompanying Clayton's frenetic rhythm, and The Edge creating noises and sonic experiments with his pedalboard, which sounds like a very atmospheric keyboard. Bono, with his typical high-pitched, almost strained vocals, begins with "I know a girl, who's like the sea..." Haven't we heard something like that from "Sin Bandera" before? Haha, I couldn't help it. The vocal harmony is catchy and pop, but strong and confident in the verses. The drums and the song gradually build in intensity, while the guitar starts to gain momentum and sound like... err ... like a guitar? until that utterly charming chorus in the purest U2 style. Isn't Bono adorable singing "No-no line on the horizon - no, no line" and then that “OOOoooooooohhhh ! Ho ho ho Whooo Ohhhh!” An energetic pop song with rock undertones, sounds reminiscent of the best moments of 2007 pop and U2's signature sound. There's a great bridge at 2:30 with a simple yet effective key change that lowers the intensity almost to silence. The coda, with an almost electronic-sounding guitar and keyboard notes like childlike bells, features another unexpected interplay of tones towards the end, leaving a good taste in your mouth after listening to this first track of the album.
The second song is "Magnificent", which truly is magnificent and the best on this album. The track begins with an almost raw guitar riff from The Edge, very reminiscent of The Who, and a rhythmic, deliberate drumbeat from Mullen, almost at a heartbeat. Tension builds in this way, and around the half-minute mark, keyboards enter (this time they are real keyboards and not the pedalboard!), creating an arrangement that adds more intensity to the song until it explodes at :45, after a long drum roll leading into a great riff from The Edge, which establishes a strong harmonic foundation for the entire song. After another drum roll, the long and impressive intro ends at 1:15, and Bono begins with well-constructed verses, in mid-range tones and almost whispered, which work very well for him this time. The choruses are well-executed, based on the riff The Edge introduced, and with U2-esque lyrics: "Only love , only love can leave Such a mark, Only Love, Only love can leave such a scar". Adam Clayton does a perfect job with a simple but essential bass line for the overall effect. It's been a long time since U2 have worked together like this. At 3:40, they have a short bridge where Bono lets out a high-pitched scream, just the way he likes it; the scream fades out. The vocals then transition almost seamlessly into The Edge's guitar solo, which begins with a note in the same key Bono left on. This creates the impression that the voice is transforming into a guitar. The guitar solo, by the way, is very bluesy; I quite like it, even though it's very short. We return to the choruses, which become an intense coda, and, well, how to put it…? Magnificent! The best song on the album without a doubt, combining all the good points of U2 into a single track.
We continue with another great track. “Moment Of Surrender” is a delicate song, with impeccable atmospheric construction that gives it a very spiritual, reflective, gospel-like feel . The chord progression is very characteristic of the band until the last two notes, which deviate from the scales The Edge frequently uses. Bono pours his heart and soul into this song, with a raw, pained voice, sounding convincing and moving. The lyrics are beautiful and reflective, without the typical sermons, but rather inclined towards introspection, perfectly in keeping with the delightful melody created by the instruments. The chorus is equally slow and catchy, and suddenly more voices begin to be heard; I'm not sure if it's more Bono's voice layered on top or the rest of the band. I think it's more the latter. The instrumental bridge at 4:30 is excellent, with a minimalist piano that ends to give way to a mournful guitar solo, again with a touch of blues. It sounds more like Keith Richards than The Edge, and that's a compliment, although again, it's too short. At the 6-minute mark, the coda begins with some guitar riffs from The Edge that fit perfectly. The song stretches on longer than usual, over 7 minutes, but despite maintaining a consistently slow pace, the band showcases all their resources to keep it interesting throughout, making it a delicate and exquisite song, full of fitting arrangements, occasionally bordering on minimalist. The song is worthwhile for its excellent harmony and the atmospheres it creates, reminding me at times of the simplicity and honesty of Miss Sarajevo, although here they have neither orchestras nor world-class tenors. A perfect 10.
In "Unknown Caller" they again lengthen the intro made up of arpeggios and very cute guitar riffs that gradually increase in intensity until 1:22 when they start with an “Ohhh OhhhOOOOhoooo!” That's the U2 sound. Here the band sounds a bit more repetitive, using their usual techniques and with things very, very similar to what they did on "The Hands That Built America,” using the same vocal inflections and almost the same sequence of tones. The chorus improves a bit, with that catchy, poppy “OooohhhhOOOOhhhhoo”, but it contrasts with the excellent harmony of “Go, Shout it Out, Rise Up” again with several voices that this time seem to be several Bonos singing at once. At 4:22 there's an instrumental passage with a church-like organ and an orchestra that suddenly sounds very Beatlesque, leading into the guitar solo, this time longer and again highly elaborate. The Edge isn't a Clapton-esque guitar hero, but when he sets out to use his guitar without so much fuss, he can achieve some good things. The song ends with the guitar notes and the psychedelic, church-like keyboard. A song that's quite predictable at times, but with some nice touches.
The fifth song is “I'll Go Crazy If I Don't Go Crazy Tonight". Is another mediocre track with typical U2 clichés. Sweet to the point of being cloying, it's cut from the same cloth as "Sweetest Thing", which can be charming on its own, but a sequel is just too much. The harmony is nice nonetheless, with a guitar riff laden with delay. The bridge at 2:40 seems awkwardly inserted. It has nothing to do with the tones, the rhythms, or the lyrics. It sounds like a piece of another song they just slapped onto the album. The guitar solo that follows isn't very good either. Loaded with delay, it departs from the bluesy feel of the previous solos and sounds terribly like the beginning of the harpsichord solo in The Beatles' "In My Life". Here, the band leans towards their earlier work, showing their most commercial, banal, and predictable side.
After this rough patch, the good songs return. “Get On Your Boots” is another upbeat track, but surprisingly, it has some Eastern influences, very reminiscent of Aerosmith's “Taste of India”, although it has nothing to do with this song. I don't like Bono's verses and phrasing, which is almost rapping, but the chorus is catchy, as is The Edge's riff. The best part is that bridge after the choruses with the guitar riff, “You don't know how beautiful, you don't how beautiful you are…" OK, the lyrics are as good and profound as Nancy Sinatra's "These Boots Are Made for Walking", if you know what I mean, but the song is catchy, with a great riff, oriental influences, excellent bass, and a pretty enjoyable punch. A good rocker with no other intention than that.
Next up is another song with a monumental riff. “Stand Up Comedy” is The Edge’s tribute to Jimmy Page and Jack White, featuring one of the most powerful and memorable riffs I can recall, quite outside his usual style. Clayton, for his part, delivers a line that he claims is an homage to “Come Together”. I don’t really hear much of that, but it has funky undertones and adds a ton of energy to the song. Let’s be honest, this is almost a hard rock song. U2 had never done anything like this before, as far as I can remember. And they do it well. They really rock hard, with a touch of pop in some parts, but The Edge plays a standout role, pushing his guitar to the limits, at times sounding like a Tom Morello riff. Numerous tempo changes, bridges, and comebacks make the song very dynamic and not at all heavy, despite being one of U2’s heaviest tracks ever. This time the lyrics aren't lighthearted like the previous rocker; instead, Bono once again urges people to stand up and fight for their love. Larry Mullen also does a great job on drums… Where has this teamwork been for 12 years? Where has this power been hidden away for so long?
“Fez - Being Born” is the last great song on the album; from here on out, it steadily declines. The intro (presumably the section called “Fez”) lasts a minute and is completely unnecessary, featuring soft keyboard arrangements and female backing vocals. After the minute mark, the song begins properly, with an almost electronic drum rhythm and the guitar once again employing heavy echo effects. Bono unleashes an “Ahhhhhh! AHHHHHHH” that, by this point, is becoming tiresome due to its annoying and repetitive nature, as irritating as Robert Plant's vocal excesses. The song itself, however, is good. I don't particularly like the vocal harmonies or Bono's screams, but the music is fantastic, a multi-part structure that constantly shifts in tone before returning to that frenetic bass line. I quite like the song, but Bono's vocals significantly diminish its charm. If it had been an instrumental, I would have given it a thumbs up.
Next comes “White As Snow”, an acoustic ballad strongly reminiscent of Mazzy Star's arpeggios. It's a delicate, intimate song, but it ends up feeling like an environmentalist pamphlet, lost in the exaggerated drama of the lyrics. At 2:10, there's a keyboard arrangement that again evokes the Beatles, and the song picks up the pace slightly from this point, with the guitar taking on a mandolin-like sound. Then it returns to the arpeggio, with even bluer and more melancholic tones than at the beginning. The ballad lacks power, although it has some good moments. The problem is the sermon-like tone in which Bono—performing like a messiah—sings to us.
The penultimate track is “Breathe”, another upbeat number, but less successful than the previous rockers. The riff is weak, and Bono's phrasing is reminiscent of the band's mediocre early 2000s days. I'm not sure if what I hear in the background is a cello section or The Edge's guitar with its plethora of effects and a Page-esque violin bow. The chorus picks up slightly. It's not offensive, but it's a repetitive U2 sound, recycled and lacking in ideas.
To close this downward spiral, we have “Cedars of Lebanon”, in which Bono takes on the role of a war correspondent and recites, rather than sings, a moralistic litany. The song is basically a change of a couple of tones, attempting to be reflective, but it sounds very bare and repetitive. Remember what I said at the beginning of the review about the previous two albums and the stupid, commercial pop noise that served as the background to Reverend Bono's sermons? Well, draw your own conclusions. Frankly, I think there are better ways to deliver messages to people. If I wanted to hear sermons, I'd go to church; I don't expect to hear them on a rock album. Besides, it lasts 4 minutes. 4 INFINITE MINUTES!!!!
In short, a poor ending to the album, which gradually falls apart and drifts further from the revitalized U2 that was evident in the first eight songs. Even so, the album is good, full of pop, but much better crafted, with intelligent sounds, great production, and some very rock and bluesy touches that make most of the songs interesting.
A great comeback. Is it just me, or are some rusty old giants finally remembering how to rock out? Who's next? A real Guns N' Roses comeback???? I decided to adjust the rating to a 7 because, although there are elements I quite liked —powerful riffs that, while still commercial, are quite clever and pleasing to the ear— there are also missteps and flaws that recall the worst of that huge slump. That, and the fact that the next review would unfairly have the same rating, so after more listens and with a cooler head, I'm returning to the 7 I originally gave it. The truth is, U2 doesn't take many risks on this album, although they do so much more than on "How To Dismantle ..." and "All That You Can't "Leave ..." especially in the long intros of some songs. Here they demonstrate that they are the masters of pop, and that the genre doesn't necessarily have to be at war with the brain, although they are far from the works of art of the late 80s...
It's worth giving it a listen out of sheer morbid curiosity. To be honest, we probably won't be able to avoid it. This year we're going to be bombarded with U2 on the radio and TV… but this time I don't think I'll be changing the station.
By Corvan
Feb/27/2009
