Review of "No Line on the Horizon" U2

After devoting considerable time to thinking about it, I'm still not sure how U2 do it.

Well into their 4th decade as a band they're still churning out innovative and superbly crafted material. You couldn't even say that of the Beatles. How they manage it might be shrouded in mystery but it is easy to see why they have sold 150million+ records.

The original plan for this album was that it would be released as two separate EPs called "Daylight" and "Darkness" but this was eventually rejected in favour of "No Line on the Horizon." The band wrote over 50 songs for this album and ruthlessly chose the best ones.

Bono set out to change the perspective in his songs from the usual first person narratives to inhabiting a range of characters. "I'm a traffic cop, rue du Marais/The sirens are wailing but it's me that wants to get away" illustrates the perspective of the title track "No Line On the Horizon." Both "Moment of Surrender" and "Unknown Caller" are written from the perspective of a junkie character. "White as Snow" is the imagined last words of a dying soldier in Afghanistan. "The Cedars of Lebanon" is written from the point of view of a Middle East War Correspondent who, in Bono's words, is reflecting on his own "private apocalypse." While some might see this as confused and trying to do too much at once, I see it as reflective of our increasingly global sensibilities, and enjoy the variety.

The fuzz wah guitar sounds on songs like "Get on Your Boots" and "Stand Up Comedy" add to the really great edgy punk rock feel. Other songs like "Moment of Surrender" have that pleasing classic Edge delayed guitar. There are some notable keyboard moments throughout as well but overall I think the most interesting element of the album, from a musical perspective, is the drums. Unlike the minimalistic approach to the beats in the last two albums the drums are much more definitive on this album, with a more percussive approach overall. Much of the sonic space is occupied by the drums, it seems someone somewhere decided more really is more. This is the most complex and attention-grabbing drumming we have heard from Larry Mullins in a long time.

Bono's vocals are soaring and ethereal on the title track in particular, and yet full-throated and rocky in the more hard hitting, riff based songs. Years of almost constant touring do not seem to have diminished his vocal chords apparently.

This album is sure to be controversial as it is a clear departure from the more more conservative "How to Dismantle An Atom Bomb" and "All That You Can't Leave Behind," aiming a little more in the direction of the quirkier "Pop." I for one am pleased to see the different direction, and take my imaginary hat off to the creativity and boldness of U2.