U2 - How To Dismantle An Atomic Bomb

It's a common occurrence for bands with a long and glorious career behind them to, at some point, announce the album of the return to the past, the recovery of their origins and identity, elements lost while searching for new paths. U2 are no exception, and after some apparent eccentricities and a lackluster album like "All That You Can't Leave Behind", they even bring in Steve Lillywhite to produce this new record, the very man who worked with them in the early '80s up through "War", when they were barely out of their teens (and for this writer, that's where the band's best work is to be found). One could argue for hours over which is the more contrived move, this predictable trip down memory lane or the choice to keep chasing new directions without ever fully exploring any of them for more than one album at a time; what's certain is that after 25 years in the business, it's understandable to struggle for something to say, especially once you've been swept up by worldwide success.

The forgettable, energetic single "Vertigo" wouldn't suggest anything special, a power-pop tune that could belong to any of the countless young bands that spring up like mushrooms every season. But it's the second track, "Miracle Drug", that will make old fans jump out of their seats, from the very first jangle of The Edge's guitar to the explosion of the rhythm section in the epic chorus, where Bono's voice recovers the passionate tone that rightly made him one of the most beloved frontmen of all time, and Clayton's bass sketches out its simple yet so effective lines. Bono's voice betrays the effort of trying to replicate the performances of the past, and it's emblematic of the whole U2 approach - from the rhythm section to The Edge's guitar - aimed at recapturing not just the pre-"Achtung Baby" sound, but also a certain expressive power, the pathos of their early career; a nostalgic effect that also comes through in the often melancholic and reflective atmosphere of the music and lyrics.

The whole operation, which one could argue begins right from the title, a reference to the unforgettable atomic fire, only partly succeeds. Some choices made specifically at the production stage are, in fact, inexplicable, and they ruin a number of tracks. Keyboards, pianos and acoustic guitars, almost always used in a bland and insignificant way, water down songs that were already far from original to begin with, such as "Sometimes You Can't Make It On Your Own", "One Step Closer" and "Original Of The Species". This creates a kind of limbo that strips the album of identity and leaves the whole recovery operation feeling only half-sketched. Luckily, there's The Edge's guitar, full of ideas and unmistakable, its echo resembling the very blurred image of the memories it exhumes, and there are a few fine tracks, like "City Of Blinding Lights", where Clayton's bass surges forward with the same impetus as in the old days, the classic ballad "A Man And A Woman", and the closing "Yahweh", which sounds like it could have come straight out of "The Joshua Tree".

A false move, then, this U2 record. And yet, that simple, epic rhythm, that jangling guitar, that passionate voice, still manage to conjure up the ghost of those kids who played "Gloria" on the Dublin docks, young, enthusiastic, with their hearts on fire. But if all U2 can manage to convey in 2004 is just an echo, then one would hope it's a genuine farewell - after all, that would be far more dignified than so many others we've witnessed throughout rock history.

Ride the wave of great music

Add OndaRock to your favorite sources on Google Discover. Don't miss our reviews, milestones and latest news straight in your feed.

Follow on Google

12/12/2006