keepers - 2
The opening title track is exhibit 1 why this album is infuriating; the buzzing, ambient (drink) layers of the verses create an electric mood only to be dismantled like an atomic bomb by awkward non-committal choruses like "no no line on the horizon no no line". "Magnificent"**** breaks no new ground whatsoever, but prove they can still write a good one despite the chorus "only love can leave such a mark, only love can leave such a scar" - really? Is it true that the love you take is equal to the love you make? A new cliche is born (or borrowed). "Unknown Caller" pairs The Edge re-visiting his minimalist Joshua Tree picking with a strange monotone chorus that works somewhat. If it was always the case, I never noticed that U2 lyrics were so consistently stupid, such as:
Restart and re-boot yourself
You're free to go
Oh, oh
Shout for joy if you get the chance
Password, you enter here, right now
So it goes, where every song has some merit which is then negated by Bono's distractingly idiotic lyrics. Except, that is, for the middle 3 tracks "I'll Go Crazy If I Don't Go Crazy Tonight", "Get On Your Boots", and "Stand Up Comedy", each song deserving a dissertation on how being memorable makes them all the worse. The end of the album may actually be the best part, as there isn't much to "Fez" or "Cedars Of Lebanon" except u2 going through its Eno-esque (drink) motions, and while contemplative "White As Snow" is completely un-memorable, at least it's easily forgotten. "Breathe"**** follows the same arena rock blueprint as "Beautiful Day", but at least Bono's preacher routine here is a little more interesting than "sexy boots get on your boots yeah". Now that's in my head - dammit!
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