U2
No Line on the Horizon

Review By Jeff Ehrbar

U2’s business plan is simple: in order to avoid an “oldies band” moniker and stay relevant (e.g. selling out stadiums and sports arenas), the band needs to have at least one “hit” embraced by radio, internet and Best Buy commercials per CD release. Its last two releases, 2001’s All That You Can’t Leave Behind and 2004’s How to Dismantle an Atomic Bomb more than met that task, with such songs as “Elevation,” “Vertigo” and even the majestic “City of Blinding Lights,” which was used by the Obama campaign.

However, No Line on the Horizon contains no “Beautiful Day” or “Walk On.” While the CD is interesting due to the intricate Eno/Daniel Lanois production, the long intros and overall excessive lengths of the songs will probably keep them off any iPod commercials. Probably the best song on No Line is “Magnificent,” a trotting blend of the Breeders’ “Last Splash,” Midnight Oil and Ennio Morricone. The song’s sprawling arrangement allows Bono to be Bono. “I was born to love you,” Bono pleads in earnest, with Edge doing the guitar rhythm/riff/grind he’s been playing the last 18 years. But with a 1:16 intro and overall 5:24 time, the electronic buzzes, beeps and burps of “Magnificent” gradually turn the trot into a plod.

Same with “FEZ-Being Born.” It isn’t exactly a song but montage of short movements, somewhat like Beck did on Odelay. Also spacious, “FEZ-Being Born” provides enough room for Bono to do his trademark “Ohohohooh” as he howls into the song’s musical wilderness. But since these howls are the song’s lyrics, the song really isn’t adaptable for anything but a segue on Sports Center. “Breathe” eventually morphs into U2 rock grandeur, but only after dips and crescents of Bono’s ranting about hit men and the Chinese stock market.