U2 setting off 'Atomic Bomb' on Nov. 23
Irish rock band U2 unveiled Tuesday the title of their next album, "How to Dismantle an Atomic Bomb," evoking the violence and rebellion of their early records. The album, recorded in Dublin and the south of France, made headlines in July after recordings from it went missing. The disappearance of rough versions of some tracks from a recording studio in Nice, France, had prompted fears they would appear on the Internet before the official release. But a band spokeswoman said: "They didn't show up anywhere as far as we're aware." The new album will arrive in North American record stores Nov. 23, one day after its release in Europe.
Quote from: MacGuffinU2 setting off 'Atomic Bomb' on Nov. 23
i thought that was the title of the record, which would've made it SO ripe for irony if it was a huge flop. hahaha, it still cracks me up.
Quote from: themodernage02Quote from: MacGuffinU2 setting off 'Atomic Bomb' on Nov. 23
i thought that was the title of the record, which would've made it SO ripe for irony if it was a huge flop. hahaha, it still cracks me up.
ah cute.
Anyways......I've been a lifetime U2 fan. They are the only band I have liked with dignity from the age of 12 til now. For me, twice the band The Beatles were ever and each album is in some way a reinvention of who they are. All That You Can't Behind did feel like a complitiation album of their past songs, but still it was a unique album in that it felt like just a collection of tunes instead of a thought out album, providing a chance for Bono yet again to change the structure of his song writing to prolly what is his most simplistic approach. From what I hear, this album will be a continuation of that approach but an examination of the other side of the thought procoess and prolly tough where ATYCLB was about melodies. I'm hopeful for what will come next from them and they really do believe this will be one of their best albums to date. Reports say they are digging into their own pockets unlike before to really step up the promotion to make it special.
so, is the new album any good?
i listened to the first 5 tracks on vh1.com last week and it sounded pretty good. i was pretty tempted to buy it yesterday when i saw it selling for $8.99 at Circuit City.
Quote from: mogwaiso, is the new album any good?
I gave it a couple listens in the car, so my attention wasn't entirely focused on it, but I'm diggin' it more with each spin. I was expecting something different based on early reviews, but was plesantly surprised. The songs grow on you as they go on. I would probably liken it to their Pop album. You can really feel how the death of his father affected Bono. The limited edition also includes a great track, Fast Cars.
Yep. It's a grower, alright.
Big U2 fan here, so I'll give my review:
Prolly there most christian and old style U2 album yet while remaining fresh. People say All That You Can't Leave Behind was them really digging at roots. In ways yes, in ways no. Some songs hymmed old U2 songs, but no U2 album was as concentrated on being just a collection of songs instead of a whole album. Not many songs had the same organic whole as another so the approach could have been seen as going for an early pop album. The group kept saying they were influenced by The Beatle's Rubber Soul for the album. With Atomic, most songs bleed onto the next, from sound to voice and even though an array of subjects are conveyed, they keep themes going in lyrics like searching for a love beyond the romantic kind (christian influence?). And even though many old U2 signatures are used often, this album really feels fused together without making it a greatest hits wannabee. This is its own album and even though U2 has gone back to their roots with this album, it has the freshness of them going for a new approach. I can't remember another U2 album that was as driven for emotion on every track, that was as driven for as much music in each song as this, as much guitar noise as they could even do. Songs like "A Man And A Woman" and "One Step Closer" do slow it down, but in ways, for the type of songs they do represent in usual U2 manner, the degree of emotion still feels intensified. Edge has never felt as confident with guitar as he does here and Bono seems like he has to prove he can still sing with each song. Its highly confident music and I'd even argue one of their best albums yet with maybe only Joshua Tree better. Sure, the style may be classic but one could argue that considering the band does little to even flaunt that style, this may be them choosing content over style for just about an entire album. They have never allowed style to take over with any of their experimentations. Even Pop and Zooropa are grounded in many ways by certain roots. Its just also they never really allowed content to take over in this way for an album either and considering this is really some of their best music, its something worth noting in their long and adventurous career as a new step.
i see there are three different versions.
which is the best?
Well, just one version of the music.
The three versions are in packaging 1.) just the cd 2.) cd and dvd or 3.) cd, dvd and book. I imagine the third option would be the nicest there.
i've heard something about one having the bonus track, Fast Cars.
i like U2. i don't know that i need a booklet so much. i just wondered if the DVD was anything special.
Quote from: bigideasi've heard something about one having the bonus track, Fast Cars.
Quote from: MacGuffinThe limited edition also includes a great track, Fast Cars.
The limited edition comes with a bound book that is like a journal of notes and drawings, and it's really nothing special. But the CD comes in a flimsy cardboard holder instead of a jewel case. So you don't get the lyrics and photos in the booklet that you do with the regular and deluxe editions. The DVD (only with the deluxe and limited editions) has footage of the band in the studio and some behind the scenes stuff of how they came up with the songs. It also has performances of a few songs; different versions from what's on the released album. If you aren't a huge fan, you're better off with just getting the CD only.
Definitely the most solid thing they've done since Achtung Baby. I think this is the album a lot of U2 fans have been waiting for since then. ATYCLB was heading in the right direction, but I felt like they were trying too hard to be successful after the disappointment of Pop. I felt a lot of songs on that were overproduced and even pandering (Stuck In A Moment was interminable). But here, they've whipped out the guitar again and ventured back to rock with great results (All Because of You). Both musically and thematically it's like they've come full circle. There are sounds and textures on this album, as well as progressions, that I haven't heard since the early-80s -- no doubt in part to having Steve Lillywhite produce it. Most people think of U2 being bombastic and trying to shout to the back row, but what made their earlier music so great was its introspection and moodiness, and that's what so many connected to. There seemed to be a person to person relation. Bono's trajectory began with his mother's death early in his life, and it informed a lot of his early writing. Now with the passing of his father he's returned to make peace.
I'm pissed I missed the concert under the Brooklyn Bridge.
i was quite put off by the spanish-countoff but all these reviews make me interested in this again. i'll probably give this a listen soon.
Quote from: themodernage02i was quite put off by the spanish-countoff but all these reviews make me interested in this again. i'll probably give this a listen soon.
The funny thing is that Vertigo is the most odd song of the whole album. Its the only time where it feels like they are trying to have a "hit single". The rest of the album is quite different.
Quote from: The Gold TrumpetQuote from: themodernage02i was quite put off by the spanish-countoff but all these reviews make me interested in this again. i'll probably give this a listen soon.
The funny thing is that Vertigo is the most odd song of the whole album. Its the only time where it feels like they are trying to have a "hit single". The rest of the album is quite different.
Haha yeah ... I'm not a U2 fan, in fact in general I don't really like them, I tought Vertigo was energetic and fun so I bought the album...so far kinda disapointed but I feel this is something that I will enjoy when I feel less...happy than today.
I think it needs repeated listens.
Parts of the album kinda bored me too but it's grown on me.
Oh, and "Vertigo" is not the best song on that album. "City of Blinding Lights is". Track 10 rules as well.
:-D
Interestingly, it had the best debut week of U2's career. Kicked Eminem in the balls.
U2 will kick off their 2005 world tour at the san diego sports arena on march 28.
kings of leon have also been announced as the support act for the first leg of the global trek, with tickets going on sale on january 29.
the full dates for the vertigo tour will be announced on monday (january 24) and despite being two months away, it is likely to be the highest grossing jaunt of 2005.
from as many as 110 shows, conservative estimates put the tour's gross potential at $225-$250 million.
"one of the great privileges of working with U2 is you get to go on the road with them," manager paul mcguinness told billboard. "we are, i suppose, that rarest of things: a major touring attraction that is still having number one records all over the world after 25 years."
the first leg of the tour will hit north america for two months, wrapping up in late may in boston. the trek will then head to 30 european stadiums, kicking off in brussels on june 10.
the band will tour throughout europe until mid-august, before returning to north america for another run of 30 arena dates.
mcguinness said: "this tour will be not unlike the last production in that the lowest priced tickets will be on the floor. the best seats are the cheapest, and we want people to get excited."
talking about the distribution of floor tickets, he said: "some will be on sale, some will be radio contest winners."
mcguinness also revealed that some shows will be available as digital downloads, explaining: "we're exploring technology where it might be possible to download the show you've just seen. we've been talking to itunes and the folks at apple, with whom we have a great relationship, but it's not quite there yet. we're certainly looking at it."
Quote from: mogwaiU2 will kick off their 2005 world tour at the san diego sports arena on march 28.
I'm going to this... :-D :-D :-D :-D :-D :-D
thrindleyaspottyweefucker
get any good handjobs lately
I'll be at the Seattle show.
After a fair number (that would be 4) of listens to How to ......... I can safely say this is the most overpraised album I ever listened. Thankfully not here.
In Miami they started selling tickets at 10am last Saturday and 2 minutes later they were all gone. They added a new show and they started selling them this morning at 10am. 10:04am they were all gone. It's bullshit how bad Ticketmaster works and how scalpers have everything figured out with bots and hacks
ZOO TV On DVD
'Zoo TV Live From Sydney' is set for DVD release in September. As well as the legendary live show, now digitally remastered, the new release comes with a bonus DVD of live tracks, mini-documentaries and the inimitable 'Video Confessional'. Details here.
Filmed at the Football Stadium in Sydney, Australia, in November 1993 - and now only available on something called VHS – the film is directed by David Mallet and produced by Ned O'Hanlon and Rocky Oldham. More on the background to the DVD release in the next few days, meantime, here's the running order.
Disc One
Show Opening
Zoo Station
The Fly
Even Better Than The Real Thing
Mysterious Ways
One
Unchained Melody
Until The End Of The World
New Year's Day
Numb
Angel Of Harlem
Stay (Faraway, So Close!)
Satellite Of Love
Dirty Day
Bullet The Blue Sky
Running To Stand Still
Where The Streets Have No Name
Pride (In The Name Of Love)
Daddy's Gonna Pay For Your Crashed Car
Lemon
With Or Without You
Love Is Blindness
Can't Help Falling In Love
Disc Two
1. Bonus Tracks
1. Tryin' To Throw Your Arms Around the World
2. Desire
(both taken live from the Zoo TV Special, Yankee Stadium, New York, 29th and 30th August 1992)
3. The Fly
4. Even Better than the Real Thing
(both taken live from the Stop Sellafield Concert, G-Mex Centre, Manchester, 19th June 1992)
2. Documentaries
A Fistful of Zoo TV
Zoo TV - The Inside Story
Trabantland
3. Extras
Video Confessional
Numb Karaoke
'U2byU2': A portrait by the artists
By Edna Gundersen, USA TODAY
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The later years: An assortment of band snapshots circa 1998-2001.
Arguably the greatest rock band on the planet, U2 now offers the definitive version of how it got there.
U2byU2 (HarperCollins, $39.95) has 1,500-plus images and a rich band autobiography culled from 150 hours of interviews with singer Bono, guitarist The Edge, bassist Adam Clayton, drummer Larry Mullen Jr. and manager Paul McGuinness.
"We felt it was important to get the story on record, but that's not to say we're not going to go on a good many more years," he says. "This is the story thus far."
In this exclusive excerpt, the band has decamped to Berlin to record Achtung Baby. They arrive Oct. 3, 1990, the official day of Germany's reunification, but soon realize their vision and brotherhood is anything but unified.
Edge: We went to Berlin with a lot of ideas but most of them were very skeletal and undeveloped. They were directions and hints that we hoped would become fully-fledged songs when we kicked them around in rehearsal but unfortunately, since a lot of them started out from unusual origins, sometimes drum machines, sometimes just strange sounds, they didn't sound very good when the band tried to play them. There was an awkward phase where things weren't working out and there were two ways to analyze it. Adam and Larry were convinced the song ideas were crap and Bono and I thought the fault lay with the band.
Larry: I thought this might be the end. We had been through tough circumstances before and found our way out, but it was always outside influences that we were fighting against. For the first time ever it felt like the cracks were within. And that was a much more difficult situation to negotiate.
Bono: What we thought were just hairline cracks that could be easily fixed turned out to be more serious, the walls needed underpinning, we had to put down new foundations or the house would fall down. In fact it was falling down all around us. We were running up hotel bills and we had professional people, the U2 crew, staring at our averageness and scratching their heads and wondering if maybe they'd have been better off working for Bruce Springsteen. We came face to face with our limitations as a group on a lot of levels, playing and songwriting. When you're at sea the smartest thing to do is to find some dry land as quick as possible. So I think Larry and Adam were just anxious: "Stop messing around with all this electronica, let's get back to doing what we do. Because all this experimental stuff isn't working very well, is it? And, by the way, Clockwork Orange was (expletive)." There was a bit of that going on. "Did somebody say we were a rock band?" As you were walking down the corridor, you'd overhear that kind of remark.
Larry: In the past, when we were writing music, we would be in a room playing and the discussion was always along the lines of: "I don't like that particular part, try something else." There seemed to be consensus. We were starting on a blank page to a large degree, perhaps with just a guitar or melody or a riff or a vocal idea. So we started at the same place and ended at the same place. This time around, it wasn't a blank page. The parameters were already set, by drum machines, loops and synth pads. And it's kind of hard to embrace new rules when you don't understand them.
Adam: We weren't getting anywhere until One fell into our laps and suddenly we hit a groove.
Bono: Maybe "great" is what happens when "very good" gets tired. We kind of out-stared the average, it blinked first and One arrived.
Edge: I was trying to take one of our half finished ideas and give it some inspiration. I went off into another room and developed a couple of different chord progressions, neither of which actually worked where they were supposed to. (Producer) Danny Lanois said, "What happens if you play both of them, one into the next?" I was playing acoustic guitar and Bono got on the microphone and started improvising melodies and within a few minutes we had the bones of the song, melodically, structurally and even lyrically.
Bono: The words just fell out of the sky, a gift. We had a request from the Dalai Lama to participate in a festival called Oneness. I love and respect the Dalai Lama but there was something a little bit "let's hold hands" hippie to me about this particular event. I am in awe of the Tibetan position on non-violence but this event didn't strike a chord. I sent him back a note saying, "One — but not the same."
Edge: At the instant we were recording it, I got a very strong sense of its power. We were all playing together in the big recording room, a huge, eerie ballroom full of ghosts of the war, and everything fell into place. It was a reassuring moment, when everyone finally went, "Oh, great, this album has started." It's the reason you're in a band — when the spirit descends upon you and you create something truly affecting. One is an incredibly moving piece. It hits straight into the heart.
Larry: It was similar to the way we had recorded in the past. In some ways it was a sign that the blank page approach was still valid. Everything was not broken.
U2 Making 3-D Concert Film
Bono and co. making big-screen debut.
Irish rockers U2 are planning to bring their Vertigo tour to movie screens everywhere in the form of a 3-D concert film planned for release next year.
Directors Catherine Owens and Mark Pellington, according to Variety, will piece the film together from more than 700 hours of footage they shot of the band performing seven South American shows early last year.
And in the band's typically sensational fashion, U2 isn't stopping there. They're set to make history by performing live in the first 3-D concert ever beamed to theaters nationwide. The live 3-D event would coincide with the concert film's theatrical debut in summer or fall of 2007.
Variety explains that the film's producers, 3ality Digital Entertainment, assembled the most 3-D camera technology ever used for a single project. A representative for the band called it "the first-ever 3-D multi-camera live shoot." 3-D director of photography, Peter Anderson (T2 3-D: Battle Across Time), used nine pairs of Sony Cinealta 950 cameras to film the band in swooping shots and kaleidoscopic imagery that will play to the three-dimensional format. Director of cinematography for the film's 2-D footage is Tom Krueger.
The film is expected to be displayed using Real D technology, the same used by theaters showing the new version of Tim Burton's The Nightmare Before Christmas.
ShoWest gets peek at 'U2'
3-D film gets the rock star treatment
Source: Variety
LAS VEGAS -- ShoWest saw another boost for 3-D content on Thursday morning when Real D unveiled the first previews of footage from the upcoming concert film "U2 3D."
Aud watched the teaser trailer and perf of the song "Sunday, Bloody Sunday."
Pic's producers call it the first live-action film to be shot, posted and exhibited entirely in 3-D. It will include 14-15 songs in 80-90 minutes.
Shot at the band's concerts in South America, the film was independently produced by 3ality Digital. Producers are hoping for a fall release though a distributor has not yet been secured.
Film will play only in 3-D-capable digital theaters.
Real D prexy Joseph Peixoto made a point of telling the aud that the presentation was shown with a single 2K Barco digital projector -- a typical commercial digital projection system.
That became a concern after it turned out that Sony's Wednesday presentation of 3-D footage from the NBA All-Star game, while impressive, was shown with two projectors, a setup far too expensive and high maintenance for most commercial applications.
Producer Jon Shapiro of 3ality said U2 was the perfect subject for a 3-D concert film because "there's a connectivity at a U2 concert you can't describe unless you've been there."
Film's directors, Catherine Owens and Mark Pellington, have long experience creating the band's concert visuals.
Ironically, the quality of the 3-D picture in "U2 3D" may reveal a whole new set of challenges for cinema owners, warned sound maven Michael Leader, prexy of Leader Cinema.
"Cinema sound systems are not up to what we just experienced," Leader told Daily Variety after the "U2 3D" preview.
He said that current theater sound systems don't even play back all of what's on typical movie soundtracks, especially in the bass, and don't have anything close to the dynamic range needed to properly play rock-concert films.
"You need a Formula One racing engine in your sound system to do this," Leader said.
Pumping up the volume on the bass would also exacerbate problems with sound leaking between theaters in multiplexes, he said.
Preview was part of Real D's demonstration of 3-D for alternative content. Demo also included a look at the "Chicken Little" videogame in 3-D.
"A lot of people spend a lot of time in front of computers, and they are people we want back in theaters," said Peixoto.
Demonstration did not include multiplayer games, however, and Peixoto spoke only of single-player games.
In the new issue of Hot Press, the magazine says U2's new album is "likely to emerge in October". Word is that this album will be a major change for them.
Highlight quotes to describe the new album:
- During an interview with USA Today's Anthony Breznican, Bono and Edge played a new song that Bono called "No Line On The Horizon." On hearing it, writer Anthony Breznican says "heavy distortion fills the car," and later adds: "The song is rough, weaving between brutal guitar blasts underscoring the mellow title refrain."
- Daniel Lanois says the new record is "promising to be a fantastically innovative collection of songs". He also says they've recently been listening to Jimi Hendrix for inspiration (specifically, for drum inspiration, not guitars).
- "World music this is not," he says, though U2 fans will "feel the difference". Polyrhythmic is the word he chooses with a self-deprecating laugh. "U2 in dancefloor shock. Normally when you play a U2 tune, it clears the dancefloor. And that may not be true of this. There's some trance influences. But there's some very hardcore guitar coming out of The Edge. Real molten metal. It's not like anything we've ever done before, and we don't think it sounds like anything anyone else has done either."
Word is that U2 will also do a follow up to their Passengers project with Brian Eno. They've been recording in Morocco and taking influence from African music. Not sound wise, but for structure in an attempt to get away from classical pop melody structure.
If the lyrics rise above their recent bad imitation of Beatles bullshit? I can only hope.
U2 enter Dublin studio for new album
Irish rockers U2 have hit the studio in Dublin to continue work on their next studio album with longtime collaborators Brian Eno and Daniel Lanois.
"We're going to try and break new sonic ground and deliver a masterpiece," Lanois told Billboard.com. "The sleeves are rolled up. Bono is all charged up with a lyrical angle."
U2, Eno and Lanois have spent time working on new material on three prior occasions in France and Morocco.
"There's so much material," he said, referring to speculation that the sessions could yield two new albums. "When you get Eno and I and those guys in the room, before lunch there's like eight things."
There's no date yet for the project, which will be the follow-up to 2004's "How To Dismantle An Atomic Bomb," which won the Grammy for album of the year.
U2 album delayed by inspiration
Scratch the new U2 album off your Christmas list. Singer Bono says the album, which had been anticipated for release this fall, will now arrive sometime in 2009. But he says there's a good reason for the delay.
"We've hit a rich songwriting vein and we don't want to stop," Bono says on the band's website, U2.com. "It gets a bit dark down here but looks like we've found diamonds not coal. I thought a while back we might have the album wrapped by now, but why come up above ground now if there's more priceless stuff to be found?"
The group has been at work since last year in recording studios in Dublin, Morocco and France, working on the follow-up to 2005's "How to Dismantle an Atomic Bomb," which won the Grammy for album of the year. They've piled up 50 or 60 tracks and are still at it, according to the website.
I have a good feeling about the new album. Supposedly they had it wrapped and everyone was expecting it, but if they're still going to work on it and record new stuff, then it means they're taking it seriously.
Quote from: Stefen on September 07, 2008, 11:20:05 PM
I have a good feeling about the new album. Supposedly they had it wrapped and everyone was expecting it, but if they're still going to work on it and record new stuff, then it means they're taking it seriously.
I do too.
The band cannot be trusted for what they say about albums, but producer Daniel Laois (who worked with them on Joshua Tree and Achtung Baby and actually is reserved about judgements) thinks this is their best work yet.
I may believe that sonically, but my biggest worry is how the quality of the lyrics will be. Since Achtung Baby the lyrics have gotten less complex and more pop muddle. It was also around that time that Bono no longer was in charge of most of the lyric writing and the band started to write all lyrics by committee. In every sense of the word they are a band, but that also isn't a great thing sometimes. Bono is by far the most literary of the bunch.
New U2 Album Has Title, No Rick Rubin Tracks
Source: Rolling Stone
Of the 50 to 60 songs U2 penned for their new album, none of the tracks the band wrote while under the guidance of producer Rick Rubin will make the final track list, according to the Edge. "We actually laid all that stuff to one side. Really out of deference to Rick and that set of songs we just said, 'OK, that's that,' and we drew a line," said the guitarist. "So none of the Rick material went into this project. Everything has been written subsequently. He gave us great advice as much as anything." The band ended up working with the The Joshua Tree production team of Brian Eno and Daniel Lanois. As for the rumored album title No Line on the Horizon, Edge says "It's an image, Bono tells me. It's like when you're moving forward, but you're not exactly sure what you're heading towards — that moment where the sea and the sky blend into one. It's an image of infinity, I suppose — a kind of Zen image." U2's new album is due out early 2009.
U2 to release new album in March
LOS ANGELES (Reuters) – Irish rockers U2 have named their new album "No Line On The Horizon," and will release it worldwide in early March, their label said on Thursday.
The quartet's 12th studio album was originally expected to be released by the end of this year, but the band announced in September that it would keep writing more tunes. Recording took place in Morocco, Dublin, New York and London.
Interscope Records will release "No Line On The Horizon" internationally on March 2, and a day later in North America.
It marks the follow-up to "How To Dismantle An Atomic Bomb," which was released in late 2004 and went on to sell 9 million copies worldwide, according to Interscope. It also garnered U2 their second album of the year Grammy, following 1987's "The Joshua Tree."
The new album was produced by long-time collaborators Brian Eno and Daniel Lanois, with additional production by Steve Lillywhite. Tunes recorded in 2006 with producer Rick Rubin, the man behind Johnny Cash's comeback, have been jettisoned.
Tour plans have not been announced. The "Vertigo" world tour for the last album ran from March 2005 to December 2006. U2 is partnered on touring and merchandise with concert promoter Live Nation Inc, which said earlier on Thursday that it bought back the band's stock in the company for a guaranteed $25 million -- $19 million more than the market price. Interscope is a unit of Vivendi SA's Universal Music Group.
Poor "Associates copy band".
Die Bono.
U2 Break Down 'No Line on the Horizon'
Key tracks from the band's eclectic new album
In early December, Rolling Stone traveled to London to visit U2 in the studio as Bono and Co. worked on the upcoming No Line on the Horizon. The journey was as spellbinding and energizing as you might imagine, and you'll be able to read all about it when our new issue hits newsstands on Wednesday, January 7th. To tide you over, here's a track-by-track preview of 10 choice songs:
"Get On Your Boots"
The likely first single, this blazing, fuzzed-out rocker picks up where "Vertigo" left off. "It started just with me playing and Larry drumming," the Edge recalls. "And we took it from there."
"Stand Up Comedy"
Another hard rock tune, powered by an unexpectedly slinky groove and a riff that lands between the Beatles' "Come Together" and Led Zep's "Heartbreaker." Edge recently hung out with Jimmy Page and Jack White for the upcoming documentary It Might Get Loud, and their penchant for blues-based rock rubbed off: "I was just fascinated with seeing how Jimmy played those riffs so simply, and with Jack as well," he says.
"Crazy Tonight"
"It's kind of like this album's 'Beautiful Day' — it has that kind of joy to it," Bono says. With the refrain "I know I'll go crazy/If I don't go crazy tonight," it's the band's most unabashed pop tune since "Sweetest Thing."
"Unknown Caller"
This midtempo track could have fit on All That You Can't Leave Behind. "The idea is that the narrator is in an altered state, and his phone starts talking to him," says the Edge.
"Tripoli"
This strikingly experimental song lurches between disparate styles, including near-operatic choral music, Zooropa-style electronics, and churning arena rock.
"Cedars of Lebanon"
"On this album, you can feel what is going on in the world at the window, scratching at the windowpane," says Bono, who sings this atmospheric ballad from the point of view of a war correspondent.
"Magnificent"
"Only love can leave such a mark," Bono roars on what sounds like an instant U2 anthem. Will.i.am has already done what Bono calls "the most extraordinary" remix of the tune.
"Moment of Surrender"
This seven-minute-long track is one of the album's most ambitious, merging a Joshua Tree-style gospel feel with a hypnotically loping bass line and a syncopated beat.
"Every Breaking Wave"
A swelling soul-pop song, with bright synth sounds influenced by OMD and, Bono says, "early electronica." "You don't hear indie bands doing blue-eyed soul [like this]," he adds.
"No Line on the Horizon"
The title track's relentless groove began as a group improvisation. "It's very raw and very to the point," says the Edge. "It's like rock & roll 2009."
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U2 Plot Five "No Line on the Horizon" Editions
U2 have revealed the five ways their new album No Line on the Horizon will be available on March 3rd. Besides compact disc and double vinyl, Horizon will also be offered as a $36 digipak featuring a 36-page booklet, a poster and a downloadable film directed by Anton Corbijn "featuring the music of U2." $50 will get you the same package, except this time its housed in a "soft cover magazine-style book" with a 60-page booklet. Then there's the Box Set version, which is pretty much the magazine version with a hardcover book, a second poster and a $96 price tag, according to Amazon. Hopefully the differences between the three deluxe packages will become more clear as we move closer to release date, as an additional $46 for hardcover may be a bit much with a recession going on. The track list has still not been announced, but "Crazy Tonight," featuring Will.i.am, is expected to make the final cut.
Listen to the new single, Get On Your Boots:
http://goyb.u2.com/
I'm very disappointed with that song... hope the album doesn't suck
It sounds better on headphones, but yea, it isn't much of an accomplishment. The better part is that it has more layers and variety than Vertigo, but it is still an average song for them. I hope the album doesn't suck too, but if Achtung Baby was introduced with Even Better than the Real Thing, I would have a lot of worries for that album as well. The hope is that this song isn't an indicator of the rest of the album.
U2 gets week long gig on David Letterman show
LOS ANGELES (Reuters) – Irish supergroup U2 have found what they are looking for to promote their new album in the United States -- a five-night gig on the "Late Show with David Letterman."
For the first week of March, U2 will perform every night on the late night chat show, CBS said on Thursday. It's the first time a musical act has been booked for an entire week on the show.
U2 starts the weeklong gig Monday, March 2, and ends it the following Friday. During the week -- on March 3 -- the band and its label, Interscope Records, will release the album "No Line on the Horizon."
The band kicked off the Grammy Awards on Sunday in Los Angeles with a performance of their single "Get on Your Boots" and sang for hundreds of thousands of people at pre-inauguration concert for President Barack Obama in Washington DC in January.
Lead by the sunglass-wearing singer Bono, U2 was inducted into the Rock and Roll Hall of Fame in 2005.
The band recorded its latest album in Morocco, Dublin, New York and London. Their last album, the 2004 "How To Dismantle An Atomic Bomb," sold more than 9 million copies worldwide.
Quote from: kal on January 19, 2009, 09:22:48 PM
I'm very disappointed with that song... hope the album doesn't suck
nothing special indeed... but it has some qualities. Definitely more Brian Eno than Dan Lanois. I wish there was a solo and less ''yeah yeah yeahs''. It's strange in it's arena-rock-traits yet weirdly dreamy vibe.
My faith in this album is definitely lowered though
Well, I got the album. I'm listening to it now and first impression is that it's really good. Easily beats out their last two albums and sounds like U2 trying something new. Some of the melodies remind me of Unforgettable Fire, but they experimenting with a lot new sounds. Probably their most consistently hard rock album too.
The best part is that this will take a few listens to fully comprehend. hat's the best thing I can say about a U2 album because all of their albums have been pretty easy to gage. There are a lot layers in some songs, but the Get on Your Boots sounds better in the context of the album
If anyone wants me to send it to them then leave your email and I'll forward it to you.
Upon first listen, I'm somewhat disappointed. If they penned 50 to 60 songs, these feel more like the outtakes. Aside from a few tracks, the overall tone of the album feels so maudlin; so monotone. The experimental sounds sound more over-produced than making strides like Achtung Baby did.
Bono: Even More New U2 Music Coming Soon
Source: E! Online
Turns out there's even more on U2's horizon.
Still in the thralls of a virtually unprecedented publicity blitz to hype yesterday's release of No Line on the Horizon, the Irish rockers have announced they are already planning to drop another album of new material later this year.
The sister work is titled Songs of Ascent and is described as having a mellower vibe.
"We're making a kind of heartbreaker, a meditative, reflective piece of work, but not indulgent," Bono says in a new Rolling Stone interview. "It will have a clear mood, like [Miles Davis' masterpiece] Kind of Blue. Or [John Coltrane's seminal] A Love Supreme would be a point of reference, for the space it occupies in people's lives, which is to say, with that album, I almost take my shoes off to listen to it."
While no official release date has been set, Bono says that he, guitarist The Edge, bassist Adam Clayton and drummer Larry Mullen Jr. already know the track they plan to issue as the disc's first single, the anthemic "Every Breaking Wave, " which ended up on the cutting-room floor during Horizon's sessions.
The band has a track record of cranking out follow-up material soon after major releases: Rattle and Hum came out right after The Joshua Tree, and Zooropa was a quickie sequel to Achtung, Baby.
Additionally, U2's singer and chief songwriter discusses the operatic tunes he penned with the Edge for Spider-Man: Turn Off the Dark, the musical hitting Broadway next year from acclaimed director Julie Taymor and starring Across the Universe's Jim Sturgess as Peter Parker. Bono says he's hoping to pitch Clayton and Mullen the idea of releasing the music as a U2 album in the spirit of classic rock operas.
"If we do, it'll be a monster, 'cause it's the most accessible music we've probably ever written, " he says. "It could be our Tommy. We could do it with guest stars and everything." But Bono appears to have an uphill battle, with Mullen expressing his reluctance in the interview.
U2 is in the midst of a five-night stand on CBS' Late Show With David Letterman. To mark the residency, yesterday, New York Mayor Michael Bloomberg temporarily renamed 53rd Street and Broadway, site of Letterman's HQ at the Ed Sullivan Theater, U2 Way.
The band isn't going away anytime soon. Aside from playing Good Morning America, the Grammys and the U.K. Brit Awards in recent weeks, U2 has also lined up a rare club gig in Boston on March 11 and plans to launch a worldwide stadium tour in July.
Quote from: MacGuffin on February 21, 2009, 12:55:56 AM
Upon first listen, I'm somewhat disappointed. If they penned 50 to 60 songs, these feel more like the outtakes. Aside from a few tracks, the overall tone of the album feels so maudlin; so monotone. The experimental sounds sound more over-produced than making strides like Achtung Baby did.
I just got it yesterday and these are pretty close to my feelings.
The only melody or lyrics I remember are from Boots, though granted, I had heard it a couple times before.
I got out ATYCLB last week in preparation, and almost every song has a memorable melody and lyrics.
Quote from: bigideas on March 05, 2009, 12:43:32 PM
Quote from: MacGuffin on February 21, 2009, 12:55:56 AM
Upon first listen, I'm somewhat disappointed. If they penned 50 to 60 songs, these feel more like the outtakes. Aside from a few tracks, the overall tone of the album feels so maudlin; so monotone. The experimental sounds sound more over-produced than making strides like Achtung Baby did.
I just got it yesterday and these are pretty close to my feelings.
The only melody or lyrics I remember are from Boots, though granted, I had heard it a couple times before.
I got out ATYCLB last week in preparation, and almost every song has a memorable melody and lyrics.
It's a rare U2 album that gets better with repeated listens. I'm not putting it with their best stuff of all time, but it certainly is much better than anything in the last 15 years. It's even better than Zooropa, but beyond that, I'm not sure.
Sorry Big Ideas, but you almost disqualified yourself to me by speaking of how good ATYCLB is. Cute album with some cute songs, but that album was if The Beatles did all of their concept albums first and decided a follow up to their most experimental and thorough work was Rubber Soul. A totally dissappointing prospect. That's how I felt when U2 released the album because Pop wasn't a total artistic success, but it showed a lot of promise. At least U2 is back on the right path with No Line on the Horizon and the album does feel more complete than a lot of their other experiments.
Quote from: Gold Trumpet on March 05, 2009, 01:11:34 PMIt's a rare U2 album that gets better with repeated listens.
I definitely agree with that. I'm on my four go 'round, and it does reveal itself with each listen.
You read a lot into one sentence.
I had Horizon on during lunch. I always thought the title track was pretty good and now I'm liking Moment of Surrender.
I haven't had the time of the pre-release downloaders, and yesterday was literally the first time any of the music hit my ears other than Boots, so it is purely a first run through reaction.
I wasn't crazy about the latest Animal Collective the first few spins and now it's hard for me to see it being topped this year...but I still find it unlikely that I will have that same sentiment with Horizon.
btw - the Beatles did follow up their most experimental work with a return to roots...Let it Be (though you may be purely going the 'cute' route - since ATYCLB wouldn't be considered a return to early U2 - I see what you mean with Rubber Soul. I've never seen how anyone would pick that over Revolver).
I've wondered if City of Flashing Lights had high sales on iTunes during the Obama campaign - did anyone see any news item on that?
I apologize if my tone sounded harsh and came off as personal against you. I try not to sound like other members who only know how to counter an opinion with a slam, but I did lash out a little at just one sentence and considering you have some good points, let me try to revert back to my old self...
Yes, Beatles went simplistic with Let it Be late into their career, but it was a better transgression than the one U2 did to ATYCLB. First, in their genre of music, the Beatles had already accomplished more of their goal. U2 already had classic albums like Joshua Tree, but their work in the 90s was meant to be experimentation with sound. From Achtung Baby to Passengers, they were looking for perfection in something once believed to be unfit for them. Like the Beatles were originally considered unfit for concept albums.
It's just U2 was still a work in progress after Pop while the Beatles seemed to have hit a creative crescendo. Besides, the sound in Let it Be was a lot more progressive than the mainstream pop of ATYCLB. Let it Be still felt like a quality new thing for them. ATYCLB had the creative complexities of Rubber Soul. It didn't sound like Boy, but only because that was 1981 and pop music just sounded different then.
U2 to 'Kiss the Future' with global tour
Band to perform through fall 2010
Source: Hollywood Reporter
NASHVILLE -- Kiss the Future, U2's world tour in support of the band's new album "No Line on the Horizon," will play stadiums around the world, beginning June 30 in Barcelona. Details of the tour will be announced March 9.
It's a groundbreaking tour with production that includes a 360-degree audience configuration, ambitious staging, and a cylindrical video screen. "We're very excited about the idea to go on the road with this album," the Edge said. "It's an album that I think is going to translate so well to the live context. The songs we've tried in rehearsal are sounding fantastic, so that's got everyone really fired up."
The tour will be global and lengthy. U2 will stay in Europe through Aug. 22, then hit American shores on Sept. 12 with a show at Soldier Field in Chicago; they'll play in North America until Oct. 28 and plan on working the globe until the fall of 2010. In addition to its production firsts, the tour is destined to become one of the highest-grossing tours ever; at $389 million, the band's 2005-2007 Vertigo tour is second only to the Rolling Stones' A Bigger Bang trek.
After playing arenas in North America and stadiums elsewhere on their last few tours, U2 will play stadiums everywhere this time out. "This is going to be completely different, and that's what makes it exciting, finding something new to bring to the touring culture," said the Edge. "It's hard to come up with something that's fundamentally different, but we have, I think, on this tour. Where we're taking our production will never have been seen before by anybody, and that's an amazing thing to be able to say. For a band like U2 that really thrive on breaking new ground it's a real thrill."
As they have for well over a decade, Live Nation global music chairman Arthur Fogel and his team will produce and promote U2 worldwide. Committing to a global stadium tour is "obviously a major undertaking on a bunch of different levels," said Fogel. "On the last tour it basically broke down indoors in America and stadiums outside of America. Both shows were pretty different and they were both incredible, but I think the general feeling, and certainly mine, was the experience of U2 in a stadium is special and unique, and it would be great for North America to experience that the way the rest of the world did the last time around."
Playing in a 360 configuration will increase the capacity by about 15%-20%, depending on the stadium. The configuration opens up myriad opportunities for scaling ticket prices, an important consideration for Fogel and the band. The top ticket price will be slightly higher than last time and the bottom price will be lower, with the floor seats - the closest to the stage - the lowest priced. In fact, playing larger capacity venues allows for more conservative pricing overall. Field level is going to be $55, and there will be 10,000 tickets a show, every show, at $30, Fogel says. The price points are $250, $90-$95, depending on the market; $55, and $30.
On-sales will begin in Europe in mid-March, and North American on-sales will start in late March/early April. U2 will also resurrect its random upgrade program first seen on Elevation in 2001, where random fans purchasing GA tickets will be moved closest to the stage.
The basic layout of the tour is Euro July/Aug., America Sept.-Oct, a total of 40-45 shows this year; more stadiums in America in June/July next year, then Aug/Sept in Europe, then tentatively South America in the fall of 2010 for potentially as many as 90-100 shows over the next two years.
This will be the first tour under U2's 12-year multi-rights deal with Live Nation, though the band's relationship with Fogel dates back to a show at the El Mocambo in Toronto in 1979. "Arthur and I are great friends and I've been very interested in the Live Nation project for years now, and we've been very supportive of it," said U2 manager Paul McGuinness. "We obviously intend to go on performing for a long time to come and that's what the deal reflects. U2 always had parallel careers as recording artists and a touring act and it was always fundamental to our way of thinking that the two should be complimentary."