The Ten Best Things to Happen During the 2000's
Saturday, November 14, 2009
The most notable thing about the decade's music was, in reality, the lack of any notable thing happening. Every decade/generation was defined by a band or movement: The British Invasion, Punk, Disco, New Wave, Nirvana, Britpop. For ten years, the 2000's screamed for a Nevermind, something to rid the world of post-grunge Creed clones and reinvigorate the musical landscape, and instead we got...Nickelback. Not to say there wasn't any great music in the last ten years, but nothing meaningful seemed to emerge from the clusterfuck of niches and cult bands to truly capture our imagination on a grand scale. Somehow, Billboard still compiles a top 100, which now consists of songs you probably haven't heard unless they've been used as the soundtrack to a viral YouTube video.
It's a strange decade we lived through (whether we survived is another matter entirely), but one that's better summed up in ideas, rather than albums you may or may not have heard. And so, the ten best things to happen to music in the 2000's:
1. Creed breaks up. It's easy to rail on their generic sound, scarcely concealed CCM lyrics, and Scott Stapp's desire to be the post-grunge Bono, almost too easy for it to be any fun. Admittedly, there were worse bands (Limp Bizkit) and worse frontman personalities (Limp Bizkit), but few combined soulless, corporate music with overreaching douchebaggery in a more obnoxious way than Creed. This wasn't the momentous event we hoped it would be, but at least we were spared from hearing "With Arms Wide Open" for a good chunk of the decade. Now if only we could get the guy from Nickelback on a helicopter...
2. The Internet
The internet may have killed the music industry and it's 50-year old business model, but it certainly didn't kill music. While the turn of this decade still brings more questions than answers about the future of music and the best way to reach an audience, the underlying truth is that people are listening to and discovering more music than ever before. It is a double-edged sword, in that the landscape is more cluttered with bands vying for any attention they can get, but 15+ years ago, they wouldn't have even had a prayer of reaching anyone outside their area code. While we're still waiting for the internet to provide the kind of filter radio provided in the 60's and MTV did in the 80's, at least the internet gave us a reason to never listen to Clear Channel radio stations again.
3. The Bush Administration/Iraq War
Okay, clearly this was the worst thing to happen to the U.S. in decades, if not in our country's history, but the minor upside was that it seemed to ignite a simultaneous spark in politically-minded artists in a way that hadn't been seen since Vietnam, both on record and on stage. Sure, Neil Young's Living With War is already a bit dated, but plenty of others weighed in with spectacular results, from Nine Inch Nails ("The Hand That Feeds," much of Year Zero) to Springsteen (Magic), resulting in some of their most inspired work in years. For the first time in over 30 years, there was a body of music created with a common purpose, something that was otherwise severely lacking in the musical culture of this decade.
4. YouTube/Twitter
This will also likely make the list of 'Worst Things,' but the effect both of these sites have had on the way we perceive music and musicians is indisputable. Yes, the guy next to you who insists on filming the entire show is the modern-day version of the "Freebird" guy, but being able to see performances that previously would have been mere legend is a godsend for music geeks. Sure, most are of dubious quality, but it's about sharing the live experience and getting even a taste of the buzz that was in the room that night. Likewise, artist Twitter pages have begun tearing down the wall between musician and fan in ways that were impossible ten years ago, seemingly ending the era of untouchable, larger-than-life rock stars. Youtube, Twitter, and other similar developments are facilitating a musical future that is about accessibility, participation, and interaction, and the artists that adapt to this landscape are going to be the ones who survive into the 2010's.
5. Deluxe Editions
The music industry sustained it's decades-old business model much longer than it should have by continually finding ways to sell people the same music repeatedly. While cash-in reissues still dominated the shelves, there was a small but welcome trend of fan-friendly deluxe reissues of classic LP's. The best of these instantly became essential listening: reissues of R.E.M.'s first two albums added full-length live discs from the band's raw, formative years, while definitive issues of the Allman's At Fillmore East and The Who's Live At Leeds finally restored the concerts to their full lengths. Amidst all the excrement, new and vintage, that the labels put out, year after year, it was refreshing to see a series of well thought-out reissues directed at the type of fans the industry needs most.
6.
It hasn't launched in the U.S. yet; whether the labels pull their heads out of their asses long enough to allow this to happen remains to be seen, but in Europe, Spotify has succeeded where almost all music startups have previously failed. By offering exactly what people want (on-demand, free streaming) in a simple, familiar interface that everyone can understand, the service has established itself as a serious contender for that oft-used "future of music" label. Unfortunately it's lack of fine-print, restrictions, and complications that give it such a straightforward user experience may be what keeps it from launching Stateside, but Spotify has proven that there is an audience for this type of online distribution, if the labels can back off enough to allow it to happen.
7. Bruce Springsteen
After spending most of the 90's unsuccessfully attempting to distance himself from the confines of the E-Street Band, Bruce reconvened the group for a well-received reunion tour in 1999. Beginning with the 9/11-inspired The Rising, Springsteen embarked on his busiest decade yet, releasing no less than 3 E-Street Band studio albums, the largely acoustic Devils & Dust and the big-band Pete Seeger tribute We Shall Overcome. While this year's Working On A Dream was clearly one album too many, the four major releases that emerged between 2002 and 2007 were among his best, and offered the kind of reflection and commentary on this tumultuous decade that few artists could equal. In between, Springsteen was a road warrior, mounting three extensive tours with the E-Street band, a 2005 solo tour, and the 2006 Seeger Sessions tour. After spending the previous decade stumbling for direction, both the sheer amount of material Springsteen unleashed, and it's high quality and diversity were among the most welcome surprises of the decade.8. Vinyl
The vinyl comeback has been a bit overhyped, since it still only accounts for a very small percentage of overall sales, but after nearly a decade of mp3's, iTunes and a renewed focus on singles over albums, there is at least a revitalized audience, not only for analogue sound, but for the album concept in general. Whether it's just a retro fad or a permanent niche market, it has successfully led to hundreds of classic albums being reissued on high quality vinyl, allowing them to be heard exactly the way they were originally intended by a generation that grew up on often-questionable CD masters of Are You Experienced or The Unforgettable Fire.9. Guitar Hero/Rock Band.
I've played Guitar Hero exactly one time, back in 2005 when it originated. I sucked at it. Royally. And while I understood some of the appeal, I have no idea how it became the phenomenon it did. But while, as a "real" musician, it seems a little silly, the fact that there's millions of kids playing digital air guitar to Deep Purple and Van Halen offers quite a bit of hope for the future of rock. If that's what it takes to gets kids excited by music and participating in it on some level, it's a positive thing. If even a few of them decide to try to learn those songs on real guitars, maybe in ten years it will be cool to be good at your instrument again. We can only hope.
10. Robert Plant & Alison Krauss.
Raising Sand was critically praised to the point where presumably even Radiohead became envious, and while it's a brilliant, atmospheric piece of modern Americana, it is even more significant for what it signified for artists of Plant's generation. Granted, only the most elite of 60's and 70's superstars are in Plant's financial and career position, but Plant not only confounded expectations via his collaboration with Krauss, but singlehandedly axed the most potentially lucrative reunion tour in history to pursue it. Many of his contemporaries have dabbled in more experimental endeavors, but did so quietly without abandoning their endless stream of oldies tours. Hopefully Plant's recent activities will serve as inspiration for other aging rockers to continue evolving, experimenting, and above all, taking chances well beyond their glory days.
Labels: 2000's, Best Of Lists
posted by Steve @ 11:52 AM,
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Review: U2, Soldier Field, Chicago 9/12 & 9/13, 2009
Tuesday, September 15, 2009
Bono & Co. rolled into Chicago to open the U.S. leg of the 360 Tour, the band's first American stadium outing in over a decade, and possibly for the first time, Bono's presence (and ego) was not the biggest, most dominating thing in the room. The centerpiece of the tour, of course, isn't the band, or the songs, but "the claw," a 164-foot tall monstrosity that makes most Rolling Stones tours look like high school theatre by comparison. One could either praise the band for continually reinventing their stage shows, or deride them for placing spectacle over music, and both would be valid criticisms. In the end though, Bono's Spaceship and it's associated lighting and video elements were, if nothing else, a lot of fun, and certainly nothing anyone had seen before.Basking in the sheer wonder of the structure certainly aided the first chunk of the show: four songs from the largely tepid and unfocused No Line On The Horizon opened the show, and even the only the fourth song, "Magnificent," really gained any traction onstage. Even one blast of "I Will Follow" sprinkled amidst the show opening would have been infinitely welcome, however it wasn't until "Beautiful Day" emerged that the crowd started getting into it. U2 clearly believes in their new songs, and delivered them as if they were playing "Out Of Control" on the Boy tour; and it was solely that energy that kept the show from crash landing before it had even begun.
After "Magnificent," though, U2 began giving the audience of 65,000 what they had come for: a solid romp through the back catalog only interrupted by the momentum-stalling "Unknown Caller" and the techno-fused Redanka remix of "I'll Go Crazy If I Don't Go Crazy Tonight," briefly harking back to the PopMart days of "Mofo" and "Discotheque" that for five minutes turned Soldier Field into the country's biggest rave. The set weighed a bit too heavily on the previous two albums; all four of All That You Can't Leave Behind's singles were played on Saturday along with "Vertigo" and "City Of Blinding Lights" ("Electrical Storm" was yet again left unplayed, sadly), which whittled down the first two decades of the band to about nine songs each night.
Whereas the Vertigo Tour was tilted towards the dedicated, 360 is clearly for the masses, and from that standpoint it succeeds, perhaps more than any stadium show ever conceived. However, with No Line failing to ignite fans or registers, one couldn't shake the feeling U2 was promoting a stage, not an album. It was an incredible, immensely enjoyable ride, but I can't say the hearstrings were pulled, or a message was communicated, which was what fuled most previous U2 shows. Whereas one can watch Rattle & Hum and have a revelation, the 360 tour is simply an extravagant night out with the biggest band in the world. Luckily for U2, for the vast majority of people filling the world's stadiums, that's enough.
Labels: 2000's, 360 Tour, 80's, 90's, Bono, concert review, U2
posted by Steve @ 10:55 AM,
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New trend in album covers reminds us how much we love female genetalia
Saturday, July 18, 2009
Okay, what is it with metal album covers that look like artsy close-up shots from a hardcore porn flick? I may have a mental age of twelve, but I can't be the only one who wonders how both of these went through all the suits at the labels without anyone pointing out their record cover looks like the DVD covers in the creepy back room of the video store. (remember video stores?)
Labels: album covers, europe, funny, hair metal, metal, metallica
posted by Steve @ 3:26 PM,
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Review: Jenny Lewis @ Headliners, Louisville, KY 7/6/09
Tuesday, July 7, 2009
Perhaps to the dismay of some and joy of others (this writer among them), Jenny Lewis has firmly established herself as a legitimate solo artist, separate from her duties as a member of (formerly) indie darlings Rilo Kiley, releasing two largely acclaimed solo LP's and hanging out with Elvis Costello. Her live show, however, affirmed that her solo career was more than just a sidenote, culling songs from the pleasantly understated Rabbit Fur Coat and its follow-up Acid Tongue into a enlightning and confident show, making it look like she'd been doing this solo thing for years. There is still plenty of evolution left in Ms. Lewis as a solo artist, but Monday night at Headliners, she made it look easy.
The most surprising thing about the set was that despite Lewis the solo artist being somewhat of an indie/alt-country poster girl, much of the show flat-out rocked. Acid Tongue was conceived as the polar opposite of Rilo Kiley's polished Under the Blacklight, recorded in a matter of weeks in a deliberate effort to capture a "live" feel in the studio. And while there's something to be said for not allowing your record's gestation period to reach Def Leppard-esque proportions, what was most apparent from last night's show was how much the songs gained simply from having the time to evolve. Even the opening "See Fernando," the LP's most grating ditty was delivered with such energy and grit that I reconsidered why I disliked it so much on record. "Carpetbaggers," "The Next Messiah," and especially "Jack Killed Mom" showed that no amount of studio calculations, rehearsals or planning can compete with a road-tested rock band. The softer side of Lewis' solo ouvure was not ignored; other than "Jack," the show's other high point was a breathtaking rendition of "Acid Tongue" performed acoustically by Lewis, with her band providing harmonies while gathered around a single microphone.
Lewis' band was a decidedly mixed bag, with Lewis feeding off standout drummer Barbara Gruska and percussionist/vocalist/occasional guitarist Danielle Haim, who provided virtually all the energy onstage. Bassist Jonathan Wilson did his job but was largely a non-factor, and both singer/boyfriend/guitarist Jonathan Rice and Farmer Dave Scher (guitar/lap steel) were competent, but looked like they'd have rather been anywhere than on the Headliners' stage. Still, the surprisingly thunderous drumming from Gruska was Lewis' secret weapon, propelling the show forward while being balanced by the stunning harmonies generated by her, Lewis and Haim.
Lewis also utilized the tail end of the touring cycle to preview a pair of tracks (presumably) slated for her next album, "Just Like Zeus" and "The Big Wave," both of which hinted at a more rock-oriented direction than any of her earlier studio work. Hopefully the energy and sound of the live band (or at least, the female half of her live band) will keep these tunes sounding as lively as they did onstage.
While the tremendously enthusiastic (and surprisingly young) sell-out crowd certainly made the performance look good, the proof that Jenny Lewis, the solo artist, had arrived lied entirely on the stage.
Setlist:
See Fernando, The Charging Sky, You Are What You Love, Jack Killed Mom, Happy, Carpetbagger, Rise Up With Fists!!, Just Like Zeus, Handle With Care, The Next Messiah, Born Secular
Encore:
Acid Tongue, The Big Wave, Sing a Song for Them
Labels: 2000's, alt-country, concert review, indie rock, Jenny Lewis
posted by Steve @ 1:14 AM,
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Review: Fleetwood Mac @ Sommet Center, Nashville 6/19/09
Saturday, June 20, 2009
It's odd to think that given the constant presence of Fleetwood Mac in our musical consciousness, that until this year, the band had technically never gone out exclusively on a cash-in greatest hits tour like virtually all of their 70's contemporaries. The band delivered more or less exactly what the audience presumably came to hear: 90 minutes of hits plus a few welcome album cuts, and Ms. Nicks doing the occasional patented Stevie twirl. Despite the tour being inexplicably dubbed "Unleashed," the tour's setlist has remained unchained since the tour kickoff, so four months in, the Mac delivered their 23-song set with the precision and automation of a broadway show.And they're certainly entitled to it. Few pop bands have unleashed a trio of successive albums as strong as Fleetwood Mac, Rumours, and Tusk, which peppered with a couple of post-70's hits ("Gypsy," "Big Love" and Nicks' "Stand Back") provides a setlist that younger bands could only dream of, even without the much-missed Christine McVie. (her "Say You Love Me," with vocals split between Nicks and Buckingham, was by far the evening's low point) A set of songs that strong delivered with any level of authenticity and energy is going to make for an enjoyable night, but lacked the spark that makes for a truly great rock show. Fleetwood Mac's strengths were always the songs, harmonies, and Buckingham's Brian Wilson-esque studio wizardry, but their strength as a live act was built upon the tension and dynamic between the band's three principles. With that largely gone, the songs remain, and sound as good as ever, but the spark that makes for a trancedent rock n' roll show is much harder to come by. Buckingham, predictably, was the driving force behind the show, delivering his usual but firey extended solos on "I'm So Afraid" and "Go Your Own Way" and putting guitarists half his age to shame. Nicks, on the other hand, while giving a genuinely heartfelt nod to Nashville between songs, seemed a bit road-weary, and while her range has diminished in the last 15 years, seemed to struggle more than usual, particularly by the set-closing "Silver Springs." Fleetwood as well seems to have lost a step behind the drum kit, leaving the ever-reliable John McVie to anchor the rhythm section more than on previous tours.
The night's best moments onstage were when the setlist veered from the greatest hits and presented lost gems from Tusk ("I Know I'm Not Wrong," Stevie's ever-gorgeous "Storms," previously unplayed prior to this year) or the Peter Green-era "Oh Well," which predictably elicited the biggest and most enthusiastic facial expressions from Mick Fleetwood and John McVie. "Tusk," even a sampled marching band, remains the same twisted, brilliant piece of dimented pop it's always been, and Lindsey clearly relished digging out "I Know I'm Not Wrong" and "Monday Morning" with Fleetwood Mac for the first time in years. Despite a diminished vocal presence, the looping fun of Nicks' "Gypsy" and "Sara" remain as mesmerizing as ever, and I can't imagine anyone ever being tired of hearing "Landslide," maybe her most celebrated composition, delievered as only its writer can do.
Even though the show never truly gained the momentum needed for an arena show, even without the spark that fueled their most tumultuous yet inspired years, there's still something special about this band. While Nicks hasn't released any new music since 2001's underrated Trouble In Shangri-La, Buckingham's two recent solo LP's prove there's still some life in Fleetwood Mac's creative DNA. Their songs have proven timeless to the audience, but the relationships and experiences that spawned them are rooted in such a specific time (as well as with full public knowledge) that there was a bit of a disconnect stemming from virtually two hours of Lindsey and Stevie singing songs to each other while 30 years removed from their breakup.
But even while failing to truly ignite the Sommet Center crowd, Fleetwood Mac did what they set out to do, which is curate one of the most treasured catalogs of pop music of the past half-century. And until Little Big Town learns to write anything that can compete with "Second Hand News," it's still the best we're going to get.
And on a more serious note, when did Mick Fleetwood become Gandalf?
Setlist:
Monday Morning / The Chain / Dreams / I Know I'm Not Wrong / Gypsy / Go Insane (full band) / Rhiannon / Second Hand News / Tusk / Sara / Big Love / Landslide / Never Going Back Again / Storms / Say You Love Me / Gold Dust Woman / Oh Well / I'm So Afraid / Stand Back / Go Your Own Way
Encore 1:
World Turning/drum solo / Don't Stop
Encore 2:
Silver Springs
(photo courtesy of Yvonne Smith)
"Storms"
Labels: 2000's, Classic Rock, concert review, Fleetwood Mac, Lindsey Buckingham, Stevie Nicks
posted by Steve @ 1:06 AM,
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Review: Eddie Vedder at The Ryman, 6/18/09
Friday, June 19, 2009
With the exception of a pair of sure-fire crowd pleasers from the early PJ catalog ("Porch" and "Elderly Woman"), the only blatantly nostalgic part of last night's show was Ed's flannel shirt, which combined with the return of his long hair gave the illusion that he was simply having a day off from the Vs. tour.
If there was any fault to the evening aside from the unusually (for the Ryman) obnoxious crowd, it's that the show seemed to lack direction, not in the music, but in it's purpose. Some artists can go out just for the hell of it, or for the paycheck, but this is Eddie Vedder, straight out of the Bono school of taking yourself (and your band) way too seriously. Clearly this wasn't designed to establish Ed as a solo artist (the Into The Wild soundtrack is almost two years old at this point, and Pearl Jam has a new record coming out in the fall), nor do Pearl Jam's fan-friendly setlists leave a need for Ed to explore the back alleys of the catalog. So the biggest challenge to the show was not accepting a Mike McCready-less "Porch," but accepting the idea of Eddie Vedder doing anything purely for fun that didn't involve surfing. (The $75 ticket price suggests otherwise, but that is another discussion)
Musically, there was little to complain about. The lack of "hits" eliminated any real anchors from the setlist, save for the main-set closing "Porch," which made the setlist flow more like an iPod on shuffle than a logical progression of songs. But up until the closing trifecta of "Wishlist/Lukin/Porch," the show had a consistently mellow, intimate vibe that worked well, regardless of what was being played. The PJ faithful was rewarded with tunes like "Soon Forget" and the vintage fan-club single "Drifting" that are rarely able to be aired in the kind of venues the band fills.
Like a real Pearl Jam show, the encore was the most focused part of the evening, featuring a pair of duets that were arguably the musical high point: Into The Wild's "Society" performed with the song's writer, Jerry Hannon, and "Throw Your Arms Around Me," the Australian "Free Bird," performed with Liam Finn, who, when not intentionally trying to not sound like his dad, sounds...pretty much just like his dad. Ed offered a small taste of Pearl Jam's Backspacer via "The End," before launching into the night's most intricate moment: a stunningly intricate, powerful, and pitch-perfect version of Riot Act's wordless vocal piece "Arc," a haunting, theatrical (almost) ending to what was otherwise a relaxed, laid-back solo show. After a slightly elongated second encore break, Vedder ended the show with a predictable but crowd-pleasing "Hard Sun" set to a colorful sky backdrop, although it's reliance on a pre-taped acoustic drum & guitar track seemed to fly against the spirit of the rest of the show. (Although the reel-to-reel tape deck to Vedder's left gets special mention as a subtle nod to early-80's Depeche Mode)
In the end, it was neither a definitive statement of Eddie Vedder the solo artist, nor was it a nostalgia trip. No offense to McCready, Ament, Cameron, or Gossard, but at this point Vedder is clearly not just the voice, but the spiritual leader of Pearl Jam. If we can accept that, Vedder's solo show functions less like a separate conceptual entity and more like an alternate view on Pearl Jam, with the songs coming unfiltered and directly through the band's mouthpiece, and proving even with limited instrumentation, why Vedder and Pearl Jam remain the last band of their era still standing.
Setlist:
Far Behind
Brain Damage/Sometimes
Girl From The North Country
I am Mine
I'm Open
Man of the Hour
Dead Man
No Ceiling
Guaranteed
Rise
Soon Forget
Driftin'
You've Got to Hide Your Love Away
Wishlist
Lukin
Porch
1st Encore:
Society w/Jerry Hannan
Throw Your Arms Around Me w/Liam Finn
Golden State w/Eliza Jane
Elderly Woman Behind The Counter In A Small Town
The End
Arc
2nd Encore:
Hard Sun w/Liam Finn, Eliza Jane
Labels: 2000's, concert review, Eddie Vedder, Nashville, Pearl Jam
posted by Steve @ 12:08 PM,
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Review: U2 - “No Line On The Horizon”
Thursday, March 5, 2009
This is a tough post. Not only has U2 been arguably the most significant band in my musical and personal life over the last dozen years, but the four-plus years they spend between albums amplifies the reaction it’s going to get, and the feelings I’m going to have about it. It’s hard to shrug off a mediocre U2 outing, since four or five years of your life may pass before they get around to releasing another one. U2 has always worked for me because of a certain duality to their music. They’re a pop band in the best sense of the word. They write songs that fill stadiums with sound, soul, and sales in a way few others have managed, and their songs are melodic, straightforward, and catchy enough to transcend languages, cultures, and generations. At the same time, they make records full of intricate, dense textures and layers that continue to reveal themselves on every listen, which is why they’ve outlasted most of their contemporaries and spawned so many imitators.
However it is both of those factors working in tandem that makes a U2 record work, and while Brian Eno and Daniel Lanois have created another interesting sonic palate, the songs themselves fail to live up to the lofty production and long waiting period that the album brings. There’s certainly some potential; the title track is possibly the most adventurous thing on the record despite it’s bummer of a chorus, and “I’ll Go Crazy If I Don’t Go Crazy Tonight” is a fun slice of Edge-driven mid-tempo pop. (although doesn’t quite match it’s Spinal Tap-worthy title) “Breathe” is another nice adventure, and one of the few times on the album where U2 sounds like a real live band, with Edge’s guitar again driving a 6/8 groove that has been rarely tapped by Larry Mullen before. And “White As Snow” is the hushed, understated tome of the album that finally succeeds where “Grace” and “One Step Closer” didn’t.
But therein lies the problem with Horizon. There’s things that could be described as reasonably adventurous, nice, or any other pleasant adjectives, but nothing that touches on “amazing.” There’s nothing as uplifting as “Walk On,” as much fun as “Discotheque” or as mind-blowingly epic as “City Of Blinding Lights.” There’s variety between songs, but nothing that truly stands out above the rest, and few, if any hooks to be found anywhere.
The problems start fairly quickly. “Magnificent” sets itself up to be the album’s high point: an energetic, four on the floor romp with a classic Edge guitar tone. But when the second verse begins, you realize that part you thought was the pre-chorus was it. The song builds up anticipation for a “Blinding Lights”-esque payoff that sadly never comes, although it does recycle the Edge slide solo from half the Atomic Bomb record. Still a solid song, but a frustrating missed opportunity. “Moment Of Surrender” runs seven minutes without a single truly memorable moment; feeling a bit like a retread of every U2 ballad you’ve ever heard, minus the catchy bits. Elsewhere, “Stand Up Comedy” attemps to be U2’s take on a Zeppelin riff, but sounds like a Stone Roses Second Coming outtake, and “Fez – Being Born” is another chorus-free song (with a completely unrelated ambient Brian Eno introduction) that probably should’ve stayed on the shelf. “Get On Your Boots,” in context, isn’t any better than it was as a standalone single, but it’s short running time and direct delivery is almost a relief compared to the reach of the rest of the album.
The main offender, however, is “Unknown Caller,” a song with inexplicable lyrics and an even more inexplicably awkward gang vocal delivery. “Re-start and reboot yourself”…”Password you enter here, right now.” It was bad enough seeing U2 shilling for Apple, but now they have a song that sounds like Steve Jobs’ subconscious. Makes you long for the days of intellectual tortoises and newborn babies’ heads.
Throughout the album, Bono is wordier than usual, often hindering the song’s ability to weave a direct, memorable melody line. His vocal delivery, in stark contrast to the atmospheric sheen of the Eno/Lanois production is raw, and often strained, as if he’s attempting to reconcile the raw energy he had on Boy with the overblown universe they’ve created. Occasionally the juxtaposition works, but just as often, it distracts from the music, particularly given how Bono tends to over-emote and dramatize to begin with.
In the end, the success or failure of a pop album depends on the quality of the songs and their ability to make an impact on a large number of people. However, as with any band of U2’s status and longevity, there is an underlying subtext that may explain how they got here, for better or worse.
There's a certain contradiction to U2's development. For being arguably the biggest and most recognizable post-60's band on the planet, their entire career post-Joshua Tree can be seen as a direct reflection of the opinions of critics. When they were derided for tackling Americana head on in Rattle & Hum, they returned with the darker, revolutionary Achtung Baby. When they took their electronica influences and sense of irony too far for the critics with Pop and the PopMart tour, they returned to their 'classic' sound with the enjoyable but safe All That You Can't Leave Behind. But after their equally safe follow up was derided for being 'too' safe, Bono promised us a second reinvention of U2, equal to the dramatic shift the band took in the dawn of the 90's.
One thing the band can't be faulted for is it's determination in all these changes. They didn't just dabble in American musical forms in 1988, they went to Sun Studios to do it. Achtung Baby not radical enough? They followed it up with the challenging, dark Zooropa album. Electronica? Get Howie B and Flood to produce. A conscious return to their roots? All That You Can't Leave Behind was the closest you were going to get without a flying DeLorean. One can question the motives or sources of their musical evolution, but even a U2 detractor has to admit they've taken each musical step head-on, for better or worse.
And so perhaps the underlying problem of No Line On The Horizon, beyond it’s lack of hooks or a single, is that it represents an unsure, tentative U2, attempting to strike a balance between musical risks and keeping the “U2 sound” rather than fully embracing one direction as they had previously. While the deeper involvement of Eno and Lanois than on any previous LP ensures the album will be a departure from Bomb, it isn’t enough of one to sound revolutionary to anyone who’s been listening to U2 for more than two weeks, which I’m assuming is anyone who cares enough to listen to their new record.
U2 has the benefit of having watched their heroes grow old ahead of them, and are clearly trying to avoid becoming the next Rolling Stones, selling out stadiums but being labeled “dinosaurs” and, worse, irrelevant. Unfortunately, in that context, Horizon seems forced and deliberate, and less of an attempt to “remake” U2 as it is to simply not repeat the last two records or be “safe.” If they released albums more frequently, or it came earlier in their career, it would likely be seen as a transitional album, much like Unforgettable Fire bridged the gap between War and The Joshua Tree. But a five year gap requires the end result to be a destination, not a pit-stop, but unfortunately No Line On The Horizon wanders aimlessly, searching for direction.
Labels: 2000's, album reviews, U2
posted by Steve @ 11:13 PM,
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The Author
Steve C.
Steve is a graduate of the music department at Columbia College Chicago and just moved to Nashville. Why? Why not. He likes the crackle and hum of vinyl, long walks on the beach, and bacon. Especially bacon.
About This Blog
This blog is written by a fan who has spent way too much money on music over the years, simply as an outlet to rant and share what he loves to hopefully lessen the amount of rambling done in person to his friends. Also, in case anything as horrible as Avril Lavigne singing "The Scientist" ever again graces the internet, I need a suitable place to post about it. The end.
