music review: no line on the horizon

In recent times, I haven't anticipated an album quite as much as I have U2's latest work, No Line On the Horizon.

Man crush alert. I listened to more U2 when learning to play guitar that I did any other band, so The Edge holds a special place in my heart. I usually hate using "influences" type references, but The Edge's style (not necessarily in a gear way, just technique) really affected the way I love to play now.

That being said, with U2 I tend to stray away from reviewing lyrics, as I enjoy their cryptic nature and don't try to take too much meaning from them.
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Track By Track:
1. "No Line on the Horizon"
A nice fast one to start out the album. I think it definitely puts a good impression of what the rest of the album will be like: a turn in a different direction along with a little experimentation.

2. "Magnificent"
My favorite song on the album. The Edge does some awesomely lyrical work during the instrumental breaks in this song that just make me want to kiss him. Very singable. A "stomper" as I like to call them, just a step above a toe tapper. My foot comes off the ground during this one. Great Edge solo, he does a lot with very little. I love the way Adam Clayton keeps a groove in this song. I love the the irony in the lyrics, that love can hurt so painfully, but is also the only thing to fix those deep wounds.

3. "Moment of Surrender"
This gospel-flavored song fakes you into thinking it is going to be a "Stuck in a Moment..." or "Sometime You Can't...". I'd definitely say that this may be one of the more passionate Bono performance's on the album, if not of all time. It's a little darker of a ballad than I've come to expect from them, but I do like it. My only complaint is that it's a little long and doesn't quite hold up the momentum in a way that keeps my interest. Another great solo by the Edge evokes hints of "A Day in the Life", but speaks volumes over the chords.

4. "Unknown Caller"
The melodies in this song will surprise you each time; the chord changes are not standard and will take you to a completely unexpected place each time. I really enjoyed the computer references in the lyrics.

5. "I'll Go Crazy If I Don't Go Crazy Tonight"
My favorite one to sing on the album. I love the little tiny eastern influences that show up throughout the chords and melodies. Feels like the most traditionaly U2 song on the album.

6. "Get On Your Boots"
I did not like this song the first few times I heard it. Then, after blasting it through car speakers with the windows down, it started to grow on me. If you see a silver Taurus/grey Cougar with some idiot screaming "Sexy Boots..." you'll know its me. Sounds to me like it should be played right after "Vertigo".

7. "Stand Up Comedy"
This song, more than any other on the album, harkens back to the Achtung Baby/Pop era of hard rock-inspired riffs and full chord instrumentation. I can't wait to see The Edge stomp through this one.

8. "Fez - Being Born"
A little Brian Eno electronic/ambient collection starts out, followed by a primarily instrumental-focused track. Makes me a little anxious, like I'm being chased. I love Bono's wailing over the more instrumental parts, it adds an emotive depth that perfectly seals the mood.

9. "White as Snow"
This is a really beautiful and poetic piece. I love the dynamics that Bono puts in his voice. I really appreciated the use of a traditional song with different lyrics/rhythm/melody, although it almost distracted me from the song itself because I kept trying to insert "O Come Emmanuel". I thought the drums at the end could have been left out.

10. "Breathe"
Wow, what a rocker. If "Magnificent" wasn't on the album, this would be the favorite for Mikey. I can't help but band the head during this one. Best listened to at ear-splitting volume. I dug the little twist on the last chord of the chorus progression, I definitely expected a more cliche ending - I should've learned by this point in the album. Again, I really want to see the band play this one live.

11. "Cedars of Lebanon"
A great way to end the album, taking the dynamics way down. The one profanity is not neccessary. The little guitar groove at the end is one of my favorites. Probably a really heavily Brian Eno written piece.
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Brian Eno definitely has his fingerprints all over this album. That fact makes it difficult to tell what innovation is the result of growth on the band's part or if the new eccentricities incorporated into the sound are just a consequence of the producer.

My favorite thing about the arrangements are the surprising chord progressions. After working themselves into a bit of a chordal box in the past, this album showed they had quite a few surprises left to show the world. Some turns the melodies take (like in "Unknown Caller" and "Magnificent") completely baffled me, caught me off guard, and kept me wanting more.

I recommend getting the version with the bonus tracks (iTunes has them I know for sure). I may fancy the new mix of "No Line on the Horizon" a bit more than the original, and the dance mix version of "Get On Your Boots" is just plain fun.

I also liked that The Edge got a few more solos than he has in the past. While he's not a virtuoso player by any means, I think he creates hooks and melodies through his axes that speak volumes over their tunes.

My only complaints for the album:
- It doesn't have any of the anthemic tracks that they've always managed to pen. None of the songs really stand out the way "Vertigo", "Beautiful Day", or "Mysterious Ways" have in the past re-inventions of the band.
- The one profanity seems superfluous. It seemed forced, just like . . .
- . . .The lyrics. They also seems a bit forced at times. But, this isn't really a breakpoint for me, I'm really too busy listening to The Edge.

Overall, I thoroughly enjoyed the album. I didn't have high hopes after hearing "Get On Your Boots" for the first time, but as that song has grown on me and the rest of the album has showed its colors, I think this one will stand against the trial of time and become one of my more beloved U2 albums.

From a purely guitar perspective, this is The Edge's best work. Maybe he wasn't as innovative as he has been in the past, but his solid style is truly the key the U2's sound and structure. I can't wait to pick this album apart with his playing.