Innocence + Experience: Live in Paris
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Release Date: June 10, 2016
Duration: 151 Minutes
Liner Notes:
Filmed on December 7, 2015 at AccorHotels Arena in Paris, France. Concert Film: Director: Hamish Hamilton. Producer: Jim Parsons. Executive Producers: Hamish Hamilton, SImon Pizey, Davis Guggenheim and Guy Oseary. Creative Director and Lighting Design Willie Williams. Show Design Creative Team: Es Devlin, Ric Lipson, Gavin Friday, Joe O'Herlihy, Sharon Blankson, Moreleigh Steinberg and Stefaan "Smasher" Desmedt. Edited by Guy Harding, Tim Qualtrough and James Collett. Recorded by John Harris and Carl Glanville. Music produced and mixed by Carl Glanville. Mastering by Scott Sedillo, Bernie Grundman Mastering. Lighting Consultant: Allen Branton. Technical Information: Disc 1 And 2 (1 X Dual Layer DVD-9 + 1 X Single Layer DVD-5). Aspect: 16:9. Format: NTSC. Sound: PCM Stereo, Dolby Digital 5.1. Duration Disc 1: 2 hours 31 minutes. Duration Disc 2: 1 hour 30 minutes. Disc 3 (1 X Dual Layer BD-50). Aspect: 16:9. Format 1080i. Sound: PCM Stereo, DTS-HD Master Audio 5.1. Duration: 4 hours 1 minute. Language: English. Subtitles: English, Français, Español, Português, Italiano, Deutsch.
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July 20, 2015 (CD-R Release)
September 4, 2015 (Streaming Single Digital Release)
Highest Chart Position: UK: N/A USA: N/A
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Song for Someone: Produced by Ryan Tedder and Flood. Engineer: Declan Gaffney. Mixed by Matt Wiggins ("Radio Mix" mixed by The Edge). Recorded at Electric Lady Studios, New York.
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Films of Innocence
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Release Date: December 9, 2014
Duration: 50 Minutes
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Plot Summary (from iTunes): 11 of the world's most acclaimed urban artists unveil their work through a collection of art films, inspired by U2's Songs of Innocence. Taking the political murals of Northern Ireland as a reference point, U2 pioneered the project to celebrate the unique democratic power of urban art. Oliver Jeffers, Robin Rhode, D*Face, Mode 2, Chloe Early, Ganzeer, Vhils, Maser, ROA, DALeast, and Todd James make up this global multidisciplinary group project. Chosen for their undisputed ability to capture the imaginations of their audiences, the artists were given complete creative freedom to showcase their personal responses to U2's music, through a series of part-animated, part live action films. The result is an exhilarating display of diversity in approach, style and commentary. Powerful and cognizant, their works scale the globe, play with time, and weave between heightened reality and animated dreamscapes. United for the first time in film, the eleven international artists have taken their work from the streets to the screen. These original works of video art transpose their visions from the physical to the digital and are collected here together as a visual counter-point to the album, a set of unique and compelling Films of Innocence. Produced by Christina Hardy and Lois Newcombe. Engineer: Jefferson Hack - Creative Director. Label: Island Records.
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Release Date: November 29, 2014
Highest Chart Position: UK: N/A USA: N/A
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The Miracle (Of Joey Ramone): Produced by Danger Mouse, Ryan Tedder and Declan Gaffney. Engineer: Declan Gaffney. Recorded at Electric Lady Studios, New York and Shangri-La Studios, Malibu.
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Release Date: September 9, 2014
Highest Chart Position: UK: N/A USA: N/A
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The Miracle (Of Joey Ramone): Produced by Danger Mouse, Paul Epworth, Ryan Tedder, Declan Gaffney and Flood. Engineer: Matt Wiggins. Recorded at Electric Lady Studios, New York.
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Songs of Innocence
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Release Date:
September 9, 2014 (Digital Release)
October 13, 2014 (Physical CD/Vinyl Release)
April 18, 2015 (Record Store Day Release)
Highest Chart Position: UK: 6 USA: 9
Liner Notes:
Music: U2. Lyrics: Bono and The Edge. Album Producer: Danger Mouse. Produced by: Paul Epworth, Ryan Tedder, Declan Gaffney and Flood. Engineered by: Declan Gaffney. Additional engineering by: Kennie Takahashi, Matt Wiggins and Ben Baptie. Assisted by: "Classy" Joe Visciano, Adam Durbridge, Joseph Hartwell Jones, Sean Oakley and Josh Smith. Mixed by: Declan Gaffney, Matt Wiggins, Tchad Blake, Tom Elmhirst and Ben Baptie. Assisted by: "Classy" Joe Visciano and Adam Durbridge. Recorded at Electric Lady Studios, The Church Studios, Shangri-La, Strathmore House, Pull Studios, Assault and Battery, The Woodshed. Studio Crew: Studio Manager/Drum Tech: Sam O'Sullivan. Technical Manager: Rab McAllister. Guitar Tech: Dallas Schoo. Catering: Samantha Farrell. Mastering: Scott Sedillo at Bernie Grundman Mastering. Cover photograph of Larry and son Elvis by Glen Luchford. Inside Photograph by: Paolo Pellegrin. Creative Director: Jefferson Hack. Cover designed by: Shaughn McGrath, AMP Visual, Dublin. Designed by: Xavier Encinas and Philipp Humm, MAD London; Shaughn McGrath with Steve Averill, AMP Visual, Dublin. Creative Agency: MAD London, Christina Hardy. Creative Consultants: Gavin Friday and Sharon Blankson. Album Production Manager: Nadine King. Album Coordinator: Jesse Peters. Lyrics reproduced by kind permission of the publishers. All tracks written by U2 and published by Universal Music Publishing International B.V. This album is dedicated to Paul McGuinness who was, and always will be, there for us.
Bono: Vocals
The Edge: Guitars and Backing Vocals
Adam Clayton: Bass Guitars
Larry Mullen Jr: Drums and Percussion
Guy Oseary: Manager
Brian Celler, Keryn Kaplan, Michael Rapino and Arthur Fogel: Management
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Review: Songs of Innocence
3 stars (out of 5)
By Stephen Thomas Erlewine, All Music Guide
Many U2 albums experience a difficult birth, but their 13th studio record underwent a particularly extended labor. Gestating for years, possibly started immediately after 2009's No Line on the Horizon and ushered into existence by many midwives, Songs of Innocence appeared suddenly in September 2014, nearly nine months after "Invisible," the presumptive lead single for the record, flopped. "Invisible" is nowhere to be found on Songs of Innocence, yet its vaguely electronic thrum did indeed turn out to be a taste of where U2 were headed after those endless sessions wound up shepherded by Danger Mouse. Songs of Innocence -- its title taken from William Blake, although many music nerds may first think of David Axelrod -- does indeed incorporate electronic elements in a way no U2 album since Pop has, weaving samples, loops, and other flourishes within music that otherwise adheres to the self-conscious classicism that has been the band's stock in trade since Y2K. Which is another way of saying that where the U2 of the '90s looked forward, the 2014 U2 are looking back, aware of a legacy that includes decades of arena-filling anthems, the deliberate reinvention of Achtung Baby, and their initial inspiration from the great spark of punk rock. The latter also provides the thematic fuel on Songs of Innocence, a quasi-autobiographical coming-of-age story from Bono that begins with the big bang of "The Miracle (Of Joey Ramone)." This opening fanfare doesn't sound a thing like the Ramones, nor does "This Is Where You Can Reach Me Now" sound like its reported inspiration, the Clash: they, like everything else here, sound like U2, albeit a U2 who are beginning to carry the weight of their years somewhat uneasily. Majesty doesn't come easily to them anymore, so they've replaced surging melodrama with a brittle, insistent clamor that's intended to dazzle. It's busy enough to be bracing yet it's also wearying, exuding a faint air of desperation that dampens the emotional pull of such lovely moments as "Song for Someone" and "The Troubles" (the latter featuring vocals from Lykke Li) while merely providing clatter elsewhere. Often, there's a nagging sense U2 could've pushed themselves a little harder sonically -- "Raised by Wolves" benefits from the coiled paranoia created by its frenetically circling vocals and guitars -- but that would've required risk, which they've been avoiding since Pop's garbled rollout. Instead, Songs of Innocence showcases how U2 desire to have things both ways. They camouflage their nostalgia in the sound of modernity; they play gigantic music about intimacy; they want to expand their horizons without leaving home. They want to be everything to everyone and, in attempting to do so, they've wound up with a record that appeals to a narrow audience: fellow travelers who either thrill at the spectacle or dig for the subtleties buried underneath the digital din. [Upon the surprise digital release of Songs of Innocence in September 2014, U2 announced the physical edition would appear a month later with an extra disc of bonus tracks. The band kept their promise, adding a second disc (along with finished artwork) to their thirteenth studio album for its physical release. Depending how you keep score, this second disc contains either 5, 10, or 11 tracks; the count is thrown off by five cuts being sequenced as one 22-minute track called "Acoustic Sessions" and a slightly alternate version of "Invisible" being buried as a hidden track at the end. Along with these "Acoustic Sessions" -- most being more fully arranged than the title suggests, particularly "Raised by Wolves" -- there is an alternate version of "The Troubles" and an "alternate perspective mix by Tchad Blake" for "Sleep Like a Baby Tonight," welcome variations all but which basically leave two songs as enticements for anybody other than the hardcore: "Lucifer's Hands" and "The Crystal Ballroom." Neither song seems to belong thematically to the loose semi-autobiographical narrative of the proper album and they're also more nimble than much of the record, with "Lucifer's Hands" benefitting from a dense percolating arrangement anchored by a trashy little guitar riff and "The Crystal Ballroom" evoking an arch, art-punk disco quite well. They might not have fit snugly onto the record but as individual songs, they're stronger than some of the tunes that made the cut.]
]]>Release Date: February 2, 2014
Highest Chart Position: UK: 65 USA: 108
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Invisible: Produced by Danger Mouse. Mixed by Tom Elmhirst. Recorded at Electric Lady Studios.
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Release Date: November 29, 2013
Highest Chart Position: UK: 82 USA: n/a
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Ordinary Love - Backing Vocals [Additional] - Angel Deradoorian, Backing Vocals [Additional] - Edge, The, Larry Mullen Jr., Engineer [Assisted By] - "Classy" Joe Visciano, Ben Baptie, Lyrics By - Bono, Mixed By - Danger Mouse, Tom Elmhirst, Music By - U2 & Brian Burton, Piano [Wurlitzer], Synth - Barry Gorey, Producer - Danger Mouse, Producer [Additional ] - Declan Gaffney, Recorded By [Additional] - Barry Gorey, Ben Baptie, Grant Ransom, Synth [Additional], Piano [Additional] - Brian Burton, Declan Gaffney. Breathe (Mandela Version) - Backing Vocals - Adam Clayton, Edge, The, Larry Mullen Jr., Engineer [Assistant] - "Classy" Joe Visciano*, Lyrics By - Bono, Music By - U2, Producer - Declan Gaffney. Released for Record Store Day - Black Friday 2013. Limited to 10,000 copies. As featured in the film: Mandela Long Walk To Freedom. Includes Digital Download Card for both tracks. Track A: Mixed at Electric Lady Studios, New York. Track B: Recorded at Electric Lady Studios, New York. Published by Universal Music Publishing BV.
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From the Sky Down
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Release Date: September 8, 2011
Duration: 140 Minutes
Liner Notes (Blu-ray):
From the Sky Down (Director's Cut): Animation - Sean Donnelly. Director of Photography - Erich Roland. Edited By - Geraud Brisson, Jay Cassidy. Executive Producer - Paul McGuinness. Film Director - Davis Guggenheim. Music By - Michael Brook. Producer - Belisa Balaban, Brian Celler, Davis Guggenheim, Ted Skillman. So Cruel: Directed By - Davis Guggenheim. Edited By - Geraud Brisson, Jay Cassidy. Mixed By - Declan Gaffney. Other [Filmed In] - Hansa Studios, Berlin, May 2011. Producer - Belisa Balaban, Brian Celler, Davis Guggenheim, Ted Skillman. Recorded By - Declan Gaffney. Love Is Blindness: Directed By - Davis Guggenheim. Edited By - Geraud Brisson, Jay Cassidy. Mixed By - Declan Gaffney. Other [Filmed In] - Hansa Studios, Berlin, May 2011. Producer - Belisa Balaban, Brian Celler, Davis Guggenheim, Ted Skillman. Recorded By - Declan Gaffney. The Fly: Directed By - Davis Guggenheim. Edited By - Geraud Brisson, Jay Cassidy. Mixed By - Declan Gaffney. Other [Filmed In] - Hansa Studios, Berlin, May 2011. Producer - Belisa Balaban, Brian Celler, Davis Guggenheim, Ted Skillman. Recorded By - Declan Gaffney. Photo Gallery: Photography By - Anton Corbijn, Eric Steelberg, Erich Roland, Mark Monheim. Design - Shaughn McGrath. Other [Audio Consultant And Quality Control] - Cheryl Engels. Other [Project Director] - Brian Celler, Candida Bottaci. Photography By [Booklet] - Anton Corbijn, Erich Roland, Mark Monheim. Photography By [Cover] - Anton Corbijn. Producer [Project] - Ned O'Hanlon. Production Manager - Bernie McGrath. A documentary film about the making of U2's Achtung Baby. Aspect ratio: 16:9. Sound: PCM Stereo, DTS-HD Master Audio 5.1, Dolby Digital 5.1. Disc: BD 50. Language: English. Subtitles: English, French, Spanish, German, Portuguese, Italian (not including any subtitling of songs or TIFF Q&A session). With special thanks to the following for their invaluable help in the making of this documentary: Trevor Bowen, Anton Corbijn, Brian Eno, Flood, Damien Hirst, Danny Lanois and Willie Williams. Total duration: 140 minutes (approx.).
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Release Date: June 24, 2011
Highest Chart Position: UK: N/A USA: N/A
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Release Date: November 26, 2010
Highest Chart Position: UK: N/A USA: N/A
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U2360° at the Rose Bowl
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Release Date: June 3, 2010
Duration: 131 Minutes (concert)
Liner Notes (Blu-ray):
Filmed on 25th October 2009 at The Rose Bowl, Pasadena. Rated: PG. Mild course language. Aspect: 16:9 1080i. Sound (Concert): PCM Stereo, dts-HD Master Audio 5.1, Dolby Digital 5.1. Sound (Bonus): Dolby Digital Stereo. Language: English. Subtitles: English, Francais, Deutsch, Espaňol, Português. Blu-ray: 1x Dual Layer BD-50 Disc. Director - Tom Krueger. Producers - Katherine Allen, Ned O'Hanlon. Executive producers - Malcolm Gerrie, Paul McGuinness. Show designer/director - Willie Williams. Music recording - Declan Gaffney, Jay Vicari. Music producer/mixing - Carl Glanville. Mastering - Scott Sedillo (at Bernie Grundman Mastering). Total duration: 4 hours 11 minutes (approx) (Concert - 131 minutes).
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Release Date: September 7, 2009
Highest Chart Position: UK: 32 USA: 8
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]]>Release Date: May 4, 2009
Highest Chart Position: UK: 42 USA: 79
Liner Notes:
Magnificent (UK Edit): Music by U2, Brian Eno, and Danny Lanois. Lyrics by Bono and The Edge. Produced by Brian Eno and Danny Lanois. Additional production by Steve Lillywhite. Engineered by Richard Rainey. Assisted by Chris Heaney. Additional engineering by Carl Glanville, Declan Gaffney and Dave Emery. Mixed by Cenzo Townshend. Assisted by Neil Comber. Additional keyboards by Terry Lawless, Bono and will.i.am. Magnificent (Edit): Music by U2, Brian Eno, and Danny Lanois. Lyrics by Bono and The Edge. Produced by Brian Eno and Danny Lanois. Additional production by Steve Lillywhite. Engineered by Richard Rainey. Assisted by Chris Heaney. Additional engineering by Carl Glanville, Declan Gaffney and Dave Emery. Mixed by Cenzo Townshend. Assisted by Neil Comber. Additional keyboards by Terry Lawless, Bono and will.i.am. Breathe (Live from Somerville Theatre, Boston): Recorded in March 2009 by Jay Vicari and Declan Gaffney. Assisted by Joel Singer. Recorded in Music Mix Mobile Truck. Mixed by Declan Gaffney. Vertigo (Live from Somerville Theatre, Boston): Recorded in March 2009 by Jay Vicari and Declan Gaffney. Assisted by Joel Singer. Recorded in Music Mix Mobile Truck. Mixed by Declan Gaffney. Get on Your Boots (Justice Remix): Music by U2. Lyrics by Bono. Remix and additional production by Justice. Magnificent (Dave Audé Club Remix): (Remix, Producer [Additional Production] - Dave Audé. Magnificent (Dave Audé Club Dub Remix): Remix, Producer [Additional Production] - Dave Audé. Magnificent (Fred Falke Full Club Mix): Keyboards - Fred Falke. Remix, Producer [Additional Production] - Fred Falke. Magnificent (Adam K And Soha Club Mix): Keyboards - Adam K & Soha. Remix, Producer [Additional Production] - Adam K & Soha. Magnificent (Adam K And Soha Dub Mix): Keyboards - Adam K & Soha. Remix, Producer [Additional Production] - Adam K & Soha. Magnificent (Wonderland Remix): Remix, Producer [Additional Production] - Paul Rogers, Pete Tong. Magnificent (Wonderland Dub Remix): Remix, Producer [Additional Production] - Paul Rogers, Pete Tong. Magnificent (Redanka's 360 Version): Remix - Redanka. Remix [Credited To], Producer [Additional Production], Engineer - Andy Holt. Magnificent (Redanka's 180 Version): Remix - Redanka. Remix [Credited To], Producer [Additional Production], Engineer - Andy Holt.
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]]>No Line On The Horizon
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Release Date: February 27, 2009
Highest Chart Position: UK: 1 USA: 1
Liner Notes:
Music: U2 with Brian Eno and Danny Lanois. Lyrics: Bono et al, especially The Edge. Produced by: Brian Eno, Danny Lanois and Steve Lillywhite. Engineered by: Richard Rainey, Declan Gaffney, CJ Eiriksson, Carl Glanville, Tony Mangurian and Dave Emery. Additional engineering by: Florian Ammon and Cenzo Townshend. Assisted by: Chris Heaney, Tom Hough, Kevin "Kevo" Wilson and Dave Clauss. Mixed by: Steve Lillywhite, Declan Gaffney, Danny Lanois, CJ Eiriksson, Cenzo Townshend, Carl Glanville and Richard Rainey. Recorded at HQ, Riad El Yacout in Fez, Platinum Sound Recording Studios in New York, and Olympic Studios in London. Studio Crew: Studio Manager/Drum Tech: Sam O'Sullivan. Studio Tech: Rab McAllister. Guitar Tech: Dallas Schoo. Catering: Sandy Hylton. Mastering: John Davis at Metropolis Mastering, London. Audio Post Production Co-ordination and Quality Control: Cheryl Engels at Partial Productions. Cover photograph: Hiroshi Sugimoto - Boden Sea, Uttwil. Photography by Anton Corbijn. Additional photography: Satellite image of Paris © Aerodata International Surveys. Satellite image of Cadiz © DigitalGlobe. Electronic sign © Morgan Noguellou. Designed by: Shaughn McGrath at Four5One Creative Dublin. Consultant: Steve Averill. Tracks written by U2/Brian Eno/Danny Lanois and published by Universal Music Publishing B.V./Opal Music, except in North America by Upala Music Inc/BMI. Album Production Managers: Steve Matthews and Candida Bottaci. Dedicated to the memory of Rob Partridge, who believed in us, almost before we did... almost. 1948-2008.
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Review: No Line On The Horizon
3 stars (out of 5)
By Stephen Thomas Erlewine, All Music Guide
A rock & roll open secret: U2 care very much about what other people say about them. Ever since they hit the big time in 1987 with The Joshua Tree, every album is a response to the last -- rather, a response to the response, a way to correct the mistakes of the last album: Achtung Baby erased the roots rock experiment Rattle and Hum, All That You Can't Leave Behind straightened out the fumbling Pop, and 2009's No Line on the Horizon is a riposte to the suggestion they played it too safe on 2004's How to Dismantle an Atomic Bomb. After recording two new cuts with Rick Rubin for the '06 compilation U218 and flirting with will.i.am, U2 reunited with Brian Eno and Daniel Lanois (here billed as "Danny" for some reason), who not only produced The Joshua Tree but pointed the group toward aural architecture on The Unforgettable Fire. Much like All That You Can't and Atomic Bomb, which were largely recorded with their first producer, Steve Lillywhite, this is a return to the familiar for U2, but where their Lillywhite LPs are characterized by muscle, the Eno/Lanois records are where the band take risks, and so it is here that U2 attempts to recapture that spacy, mysterious atmosphere of The Unforgettable Fire and then take it further. Contrary to the suggestion of the clanking, sputtering first single "Get on Your Boots" -- its riffs and "Pump It Up" chant sounding like a cheap mashup stitched together in GarageBand -- this isn't a garish, gaudy electro-dalliance in the vein of Pop. Apart from a stilted middle section -- "Boots," the hamfisted white-boy funk "Stand Up Comedy," and the not-nearly-as-bad-as-its-title anthem "I'll Go Crazy if I Don't Go Crazy Tonight"; tellingly, the only three songs here to not bear co-writing credits from Eno and Lanois -- No Line on the Horizon is all austere grey tones and midtempo meditation. It's a record that yearns to be intimate but U2 don't do intimate, they only do majestic, or as Bono sings on one of the albums best tracks, they do "Magnificent." Here, as on "No Line on the Horizon" and "Breathe," U2 strike that unmistakable blend of soaring, widescreen sonics and unflinching openhearted emotion that's been their trademark, turning the intimate into something hauntingly universal. These songs resonate deeper and longer than anything on Atomic Bomb, their grandeur almost seeming effortless. It's the rest of the record that illustrates how difficult it is to sound so magnificent. With the exception of that strained middle triptych, the rest of the album is in the vein of "No Line on the Horizon", "Magnificent" and "Breathe," only quieter and unfocused, with its ideas drifting instead of gelling. Too often, the album whispers in a murmur so quiet it's quite easy to ignore -- "White as Snow," an adaptation of a traditional folk tune, and "Cedars of Lebanon," its verses not much more than a recitation, simmer so slowly they seem to evaporate -- but at least these poorly defined subtleties sustain the hazily melancholy mood of No Line on the Horizon. When U2, Eno, and Lanois push too hard -- the ill-begotten techno-speak overload of "Unknown Caller," the sound sculpture of "Fez-Being Born" -- the ideas collapse like a pyramid of cards, the confusion amplifying the aimless stretches of the album, turning it into a murky muddle. Upon first listen, No Line on the Horizon seems as if it would be a classic grower, an album that makes sense with repeated spins, but that repetition only makes the album more elusive, revealing not that U2 went into the studio with a dense, complicated blueprint, but rather, they had no plan at all.
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