Album Review: U2 - No Line on the Horizon
He might oddly resemble a more intrepid Robin Williams lately, but Bono still remains an international symbol for…well…it’s hard to describe. Let’s just say he’s of the optimistic sort, and there’s nothing really wrong with that. He’s a musician at heart who happens to be a humanitarian, too. Some recommend he stay behind the mic, where he started, and others contend that he’s using his name (and stardom) for a good cause. Whatever end of the argument you find yourself on, it’s doubtful that you’ve ever listened to War, The Joshua Tree, or The Unforgettable Fire and said, “This guy’s full of shit.” Whether it’s a full album, a song, and/or some of the overall themes, there’s something to appreciate, empathize with, and enjoy. That’s what makes U2 so universal.
Admittedly, there are times Bono seems to be a tad self righteous. But, let’s step aside for a second and pretend that he’s not on the speed dial for half a dozen of the world’s leaders. Let’s pretend he’s just the old Dubliner, the guy who once tried out for Joy Division, the ol’ Irish fellow who penned “Where The Streets Have No Name”, in-arguably one of the greatest pieces of modern music today. Realities aside and imaginations afire, U2 doesn’t look so overblown anymore, huh?
It’s been four years since they released the hit or miss 2004 record, How to Dismantle an Atomic Bomb, and nine years since the exceptional return to form, All That You Can’t Leave Behind. Five years later, the Irish quartet are back with their twelfth effort, No Line on the Horizon, a key point in the band’s critically and commercially successful career. Considering it’s unlikely they’ll produce another effort by the end of this decade, there’s something final or definitive about this record.
Horizon, however, is an eccentric album — but for a variety of reasons. It’s not that the band sounds unoriginal or dated, it’s just that this particular sound has over-saturated the modern music scene. There’s not a song on Horizon that hasn’t been heard in the latest Coldplay record, or even through the likes of Snow Patrol, The Fray, and, heaven forbid, Keane. The rhythm and mood of “Moment Of Surrender”, a great song by the way, has already been accomplished in “Run” by Snow Patrol. The same could be said for “Breathe”, one of the album’s strongest tracks, which also mirrors any recent Coldplay hit. This isn’t a slam at the band, but an observation that’s somewhat disappointing for contemporary music.
In some respects, it does affect the album, however. Not that U2 were ever going to transition like their Zooropa or Pop days, but some surprises here and there would be appreciated. However, when they try to reach and experiment, it happens to be the weakest aspects of the album (and their career). Horizon’s first single, “Get On Your Boots”, is a perfect example. While punchy and upbeat like 2004’s “Vertigo”, “Boots” is a musical catastrophe and quite possibly the most unfortunate track for the band since 1987’s b-side, “The Sweetest Thing.” From Larry Mullen, Jr.’s ridiculous drum roll to The Edge’s confused and uninspired guitar riffs, the whole thing sticks out like a sore thumb. Can anyone really handle listening to Bono reel off trash like, “Hey, sexy boots”? No.
The same might be said for “Stand Up Comedy”, a track which swings like recent Red Hot Chili Peppers tunes yet carries a chorus that could fit in a Steel Dragon number. Yes, the faux bio pic with Mark Wahlberg (e.g. Rock Star). Halfway through the song, you might have to pinch yourself and say, “Remember, this is U2.” Or, maybe not. At the very least, the song’s lyrics are an improvement over “Boots”, but really, that’s not saying much.
Horizon sounds best when U2’s, unfortunately, playing it safe. Then again, that mentality has worked with Bruce Springsteen lately and his records have been superb. Fortunately, this is where the album shines. Songs like “Magnificent” and even the opening, titular track are throwbacks to material we’ve heard Bono rip though before, but they’re excellent songs. The Edge has a blast in both tracks, specifically “Magnificient”, and Adam Clayton’s bass lines explain why bands like The Killers or M83 are so hot today. These two don’t just shine on their instruments either. Their harmonies here, especially on tracks like “Unknown Caller”, are some of the discography’s best, and the same might be said for Bono.
Producers Brian Eno, Daniel Lanois, and Steve Lillywhite have literally insured Bono’s tenor-like vocals here. In the aforementioned “Unknown Caller”, the bouncy frontman soars over The Edge’s dial tone riffs, speaking front and center without seeming so obtrusive. “I’ll Go Crazy If I Don’t Go Crazy Tonight” works the same way and when Bono sings, “Every sweet tooth needs just a little hit,” every word resonates and seems important. It’s this crisp production that brings life to the album’s latter half: the cave-like echoes in “FEZ-Being Born”, the very cinematic “White as Snow”, and the soulful familiarities of “Breathe”.
The very quiet yet thematically loud “Cedars Of Lebanon” marches out of Horizon. “I have a head like a lit cigarette,” Bono cleverly sings, and it’s this reflective, nearly spoken word guilt that is atypical of a band (or a man like Bono) that’s consistently keeping an eye out on the world. Say what you will about ‘em, but they still know how to chisel away at the spine. Judging by the album’s last lines, “Choose your enemies carefully, because they will define you / Make them interesting because in some ways they will mind you / They’re not there in the beginning, but when your story ends / Gonna last longer with ya, than your friends,” they’re being cautiously optimistic these days. But really, have they ever been anything else? That’s something they’ll always carry, that’s their trademark. That’s why everyone still listens to them — and that’s why they always will.
Rating: 
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No Line on the Horizon
“the opening, titular track are throwbacks to material we’ve heard Bono rip though before”
I’m sure I’ve heard something in NLOTH (the title track) before, but I can’t just put my finger on what it is. What does it remind you?
I beleive that the critical and commercail success of an album is 99% dependent on the time that it was released; meaning if U2 released the Unforgettable Fire or The Joshua Tree in 2009, fans and critics would be “WTF?” Songs like “trip through your wires”, “exit” and “elvis in America” would go over everyone’s head like a lead balloon
“With or Without you” and “I still haven’t found…” also wouldn’t come close to be a #1 single either…
My point? NLOTH is an excellent album (subtract “boots”) but was released in during a period of time where SOME of the sounds are commonplace, or not “hip-hoppish” enough for the kids of today
NLOTH would have been an excellent pioneering CD if it had been released several years ago (before Viva la Vida, etc)
You know what kids these days would say to “mothers of the disappeared”?
I know: “It’s boring and it sent me to sleep”
NLOTH: 4.5 out of 5. Seriously.
PS: why is everyone arguing about the new U2 CD when it just there to be sonically enjoyed, not picked apart? After all, its only music….
This Album is Garbage. U2 did a great job with How to Dismantle an Atomic Bomb and they take 3 years off to come up with this crap? Just think they will probably charge face value $200.00 a ticket to see them play half a set list of this garbage.
The smart thing to is save your money and pay half that price to see Springsteen who unlike U2 is actually getting better and plays 1 1/2 hours longer than U2.
Maybe instead of falling in love with yourself BONO you should take a few pointers from ” The Boss ” The true greatest act in Rock.
Some of the songs have a tendency to ‘fragment’ - just out of nowhere - change up. In the past - they did this to great effect. On this album - it doesn’t work to the same effect.>>>
I think that’s one of the biggest flaws with this album, too. I wish I picked up on that earlier, too. It’s so dominant now on so many listens. A lot of these songs just don’t stick and I’m finding myself lost in them, but not in the good, balmy-feely sort of way.
I’d say all those songs you mention (Magnificent. Moment Of Surrender. White As Snow.) are the best off the album. Yet I do love the title track.
It’s funny you mention “Wire”, off of Unforgettable Fire (my father album from them), because I was thinking the same thing. The energy in that song is so real, so vital, and yet today it feels so forced…as if they’re going for that “Vertigo” or “Elevation” for the sake of going for it (or, well, to sell singles). To quote Garth, “That’s just sad.”
This is a pretty underwhelming listen, but I wouldn’t go as far as 2.5. In the end, Bono’s writing is still miles ahead over those in his league and even a good handful of acts today.
Kudos. Never apologize for being too critical. Never.
Well, I’ve listened to the whole album all the way through 3-4 times now.
First thought - the song order is off. I would have ended the album with White As Snow.
And it was mentioned that where they ‘experiment’ on this album they fall flat. Agreed.
Some of the songs have a tendency to ‘fragment’ - just out of nowhere - change up. In the past - they did this to great effect. On this album - it doesn’t work to the same effect.
Magnificent. Moment Of Surrender. White As Snow. These songs make the album. The rest of the songs - in my opinion - just don’t cut to the rather high U2 standard.
Pop is better. All That You Can’t Leave Behind is better. Even Passengers has more good tunes.
( From what I was hearing - I thought the album was going to be more like Passengers.) But there is no “Slug” on this. In some ways it is like Passengers - you have to keep the remote handy to skip over pure garbage.
Funny. Wire - on Unforgettable Fire - is thrilling. But on this album when they get ‘energetic’ they just pound notes. Boom Boom.
I’m going to buy it, but I give it only 2 1/2 out of 5. Too much filler. Not enough highs. Too many lows.
Sorry to be so critical, but I was expecting more after all these years.
KY, you make some strong arguments, but I stand by my words. I’ve listened to the album maybe 20 times now, and my opinion hasn’t changed. Sorry.
That’s why there’s perspective in life.
I wont comment on how great or disappointing the album is. Its really all just opinion… Except when opinion is supported by completely bafoonish statements.
The review seemed to at least try and make as objective a review as possible at the beginning, but in the end this was just smokescreen for bias and laughably inaccurate comparisons:
“The same could be said for “Breathe”, one of the album’s strongest tracks, which also mirrors any recent Coldplay hit.”
Are you kidding? I am trying to give the benefit of doubt and assume you mistyped the song title.
1) This is a rock song and Coldplay has NO rocksongs
2) The vocal delivery of the verse alone is one of the furthest things from ANYTHING Coldplay has done … er I mean aped from U2. Hell its even hard to find a U2 song that has a similar vocal delivery previous to this album
3) Even the overall tone and raw sound is incomparable to Coldplay
4) Find me anywhere near a solo from Coldplay resembling this song. Hell, Coldplay barely has guitar solos. (again I am not even asking to find me a good solo, just one that even resembles it)
5) Even the Piano in this song is wildly different from the everpresent soft soothing keys of Chris Martin
6) The song has a bluesy feel and rhythm. (whether you agree that it is successful or not is besides the point. The fact is, it is there) Coldplay has never come close to even attempting anything bluesy (and could never pull it off, as they have done nothing but good pretty delicate soft rock ballads)
Another point that incongruous is the statement that the songs that work best are the “safe ones” Then go on to list “Unknown caller” as one of them. This is a 6 minute song, that starts our completely atmospheric for about 1:20. Then makes a burst into familiar U2 chiming guitar, accompanies by familiar “oh oh ohs” then just as suddenly drops into a speak-sing verse with obtuse guitar then again a burst of chiming guitar but now accompanied by Arcade Fire or even Musical theatre style multilayered chanting! (something U2 has never done). This sea-saw goes back and forth 4:40 when another surprising shift comes - Organ and Horns (again another thing not that common in a U2 song) which then ends on a minute and a half long Edge solo. Which for the most part is not in his usual chming soaring style nor the more recent fuzzed out crunchers. The fact that Edge is even doing a solo that long is already different. But more so, the structure of the song is no exactly verse chorus verse, it is a 3 part structure with the middle being a call and response. And you are calling this safe? I
There were some decent parts of the review, but I couldnt let these things just pass without being called out on
Next to “White As Snow”, “Magnificent” is my favorite tune on the album, dman. However, I don’t see it as experimental at all…in fact, it sounds like it could fit into The Unforgettable Fire without a problem.
Furthermore, I think you’d be hard pressed to find people that agree with you when you say that “Boots” works in the album. It doesn’t fit in at all, even if it were in the beginning, like “Vertigo” in their 2004 effort. It should have been a cut song, in my opinion, as it detracts from the overall album.
But, to each his own.
you make some points and agree with some of them. but you tend to contradict yourself more than Bono when he hypes a new album. this is a grower of an album. it has a lot of layers, and if you’ve got decent headphones you will hear some great details that are exquisitely layered. i’m not a fan of Boots as a single but on the album it somehow works. And some of the best songs are the EXPERIMENTAL ones. No Line, Moment Of Surrender, Fez-Being Born, and White As Snow’s (alt-country sound). ‘Magnificent is experimental but you’d never realize it until you really think about it: They essentially take a Classic sounding U2 song and underpin it with a spacey-disco beat. But, the genius is that you don’t really get a disco vibe. It’s equally Dance-oriented and a Classic U2 anthem, and it’s natural sounding. You will probably be dancing to it! Truly brilliant!
This is a great U2 album. I was not a big fan of the first single sexy boots but the rest of the album does not sound like the single. The first 4 tracks remind of vintage U2 from the unforgetable fire area
I’ve heard the first half about three times, but the second half only once (it’s as though I’m afraid of getting to “Get on Your Boots”). The title track, “Magnificent” and “Unknown Caller” are very good. “Moment of Surrender” doesn’t really go anywhere, and I can’t help but think of “Faithfully” by Journey when I listen to “…Crazy”.
I having a feeling this will fall in between ALL THAT YOU CAN’T LEAVE BEHIND and HOW TO DISMANTLE AN ATOMIC BOMB.
I wouldn’t put “Stand Up Comedy” in “all classic U2 songs.” The song’s a joke, and I don’t mean that in a pun, it’s a bad song that tries to be bigger than it really is. The other tracks I’m right with you on.
Petrocs…but after that, what else is there? If they release it they just took the good songs and released it as an EP, it would get five stars.
Breathe, Magnificent, Moment of Surrender, I’ll Go Crazy…, No Line, Stand Up Comedy…all classic U2 songs..
It’s far from amazing, but it’s also far from disappointing. I really don’t think it’s an issue of overproduction, but more of flow - at times it’s nonexistent. That being said, it’s still better than a lot of the music out there now.
Petrocs? Really? Amazing? I think it is a sub par effort. His lyrics are weak and somewhat comical, the music is too choppy and is over produced with sound effects that have no point being in the songs…
This is far from amazing. This is the most disappointing album I’ve heard from them in a while…
i don’t think U2 has done anything amazing since Achtung, i love them to death but amazing? no i doubt it.
Oh come off it…the album is amazing.
i agree with the thoughts… when they went experimental, honestly I was far from impressed…
I’m scratching my head with RS giving it five stars… they are only kissing their asses
I’d give it 2.5 stars at best after listening to the album twice all the way through
I was actually very disappointed.. now I”m hoping they don’t play a lot of this shit on the road when they tour
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