Expectations stem from many conditions, including informative past events and extensive prior knowledge. Most importantly though, expectations are born from first impressions.

My first impression of U2 was The Joshua Tree; an album so perfect, so inventive, that every pop act following it would reference its artistic and musical beauty. The sounds, the consistency, the innovation.. It was all there. It was my first concept of what a real album looks, sounds, and feels like.

Needless to say, as a long-time, avid U2 fan, I have been searching for that second Joshua Tree, that follow-up that would make me remember hearing “I Still Haven’t Found What I’m Looking For” for the first time. I found great material in older recordings, War and Rattle & Hum, but everything after those was too difficult and different to make me feel satisfied with their releases.

No Line on the Horizon is an invention of a new U2; an energetic, imaginative U2 that we’ve missed for the past 15 years or so. This is the U2 that broke barriers, had no musical limits, and was considered one of the greatest rock bands around. This U2 is ALIVE.

Let us disregard the newest single, “Get on Your Boots,” for the moment- It’s a poor representation of the album. Instead, I will begin with what the band truly wants the listener to begin with; track one- “No Line on the Horizon.”

“No Line” is a busy, mid-tempo surge of contrasting verses and choruses; the first being muddy and strained, and the second being smooth, clean and cleverly melodic. Bono’s vocals are the obvious highlight here- It’s as if he’s suddenly rediscovered his youthful inspiration to sing with passion again. His legendary vocal range is again utilized to a legendary extent in second track, “Magnificant.” The song itself is reminiscent of The Unforgettable Fire era, with its anthemic drums and its powerful lyrics (”Only love / Only love can leave such a mark”). Can’t wait to hear this one live.

“Moment of Surrender” is seven-and-a-half minute groove that rests comfortably on an angelic musical aura and a dreamy bass line, which slowly builds to a gripping refrain. “We set ourselves on fire!” cries Bono. It’s very contained, while somehow being so wild and emotional. The Edge tests out some new techniques, surprisingly not relying on his signature moves for this track. This arrangement is perfect though; just enough of everything to fill the song structure out while keeping it raw. It’s beautiful.

It’s phrases like “I was lost between the midnight and the dawning” and “[It was] 3:30 when the numbers fell off the clock face” in fourth track, “Unknown Caller,” that make me idolize a lyrical narrator such as Bono. He’s not just admirably sincere or modestly convincing or intriguingly straightforward; he’s a master of the voice, the sultan of the story, molding the plot and the narration until it becomes a palpable reality. He’s confidently complimented by The Edge’s always creative guitar sound streaks, as well as Larry Mullen Jr.’s percussion shuffle and Adam Clayton’s silky bass drive. Overall, it’s another lengthy, but great one.

The next track, “I’ll Go Crazy If I Don’t Go Crazy Tonight,” is reminiscent of the sound of the past few records (All That You Can’t Leave Behind and How to Dismantle an Atomic Bomb); however, it still boasts the new U2 energy and feel. The chorus and bridge are the biggest parts of the songs, banking on more key Edge guitar manuevers and solid arrangement. Let’s just say, it’s definitely a U2 creation. “Get on Your Boots” is next, and as mediocre as it may be as a single, it surprisingly makes much more sense as part of the album. If you haven’t heard it, it’s basically a revamped “Vertigo” with high-voltage verses, a rollercoaster chorus, and a mad bridge. The lyrics are a bit scattered, and the “sexy boots” line seems a litte out of theme with the album. It is still very inventive and, like I said, works better as a part of the album than as a lonely single.

Track seven, “Stand Up Comedy,” is another strong rocker from the group, overflowing with contagious melodies and smart lyricism. The chorus tune vaguely resembles “In a Little While” (from All That You Can’t Leave Behind) with its partially wordless structure, but the arrangement and surrounding melodies are something completely different. There’s not much else to say about the track; it’s just a straight up great song. “Stand Up Comedy” is followed by the über experimental “FEZ-Being Born,” a track whose title is more than fitting. Bono moves between wordless cries and obscure lyric fragments while the band pulls off an incredible collage of colorful, passionate soundscapes. It’s groundbreaking, captivating, and appealing all at once.

Next is a spell-binding rendition of a traditional tune, but with a U2 twist. “White as Snow” is a deep, chilling track treated much like a poem set to music. In no way is this a negative approach; the production on this track by Brian Eno and Daniel Lanois is absolutely flawless, and the band’s presentation is inimitably imaginative. Especially noticable are the Edge’s unorthodox guitar parts and impressively fine-tuned tones.

After a song like “White as Snow,” the listener feels the need for something upbeat, and “Breathe” is the answer. Beginning with a jingling percussion intro, “Breathe” moves quickly through fiery verses into a controlled chorus and back out into a brief, but mesmorizing interlude, only to wrap itself up neatly at the altered end chorus. It’s best described by one of its own lines- “Like loose electricity.”

“[I'm] going to last with you longer than your friends.” - Bono in “Cedars of Lebanon.”

“Cedars of Lebanon,” the closing track on No Line on the Horizon, is an intellectual, dreamy sensation of storyplot and ominous uncertainty. It’s mostly quiet and uninvading, leaving the subtle, haunting lyrics to do most of the talking. It’s difficult to describe the track; throwing adjectives and descriptions at the reader is ultimately pointless and falls short of truly representing the musical experience. It’s nothing less than a masterpiece, and could easily be one of U2’s best compositions.

After admittedly falling into a “doubting Thomas” state of mind after hearing “Get on Your Boots,” I am relieved to announce that No Line on the Horizon has renewed my hope in the future of U2, and music in general. The album surpasses all expectations and finally gives the fan a reason to believe in the band again. In essence, No Line is U2’s modern Joshua Tree; a bold, brilliant, fulfilling, faultless and edgy (no pun intended) record for this generation. It’s accessible at it’s core, but is still certainly durable and additionally artistic. Don’t hesitate to spend your ten on March 2nd- You’ll have finally found what you’re looking for.

Note: The entire album is currently streaming on U2’s MySpace, located here, which is the method I used to listen to and review this album.

/ Posted: Feb 26, 2009
/ Written by: Matt S.
/ Category: Album Reviews
/ Artist(s): U2