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The new Album, 100 listens later...


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Initial love. Mad love for the band always. But...

 

I think I finally got down to it. Brian Eno should be banned from helping to make any sound resembling a soft twinkly bell. Or is Lanois to blame? EDGE? Thehigh pitch plinky stuff in FEZ for example. Too many old ears stirring this pot?

 

Not digging the piano sound. Why do it even? You got three songs in 30 years requiring piano on stage. What's the point in filling with songs as FILL-onlyanyway?

 

It sounds like "old man ears" treatment under many of the songs. How did Boots get past Eno and onto the album?

 

Even White as Snow gets soft shelled. B side material at best? Is it made up, biographical? It's a weird story from Bono. After all these years, is thisreally some tail never shared before?

 

How do you put in girlie sounds under a song like "I'll go crazy if I don't go crazy tonight"?? How?

 

What's happening to me? Am I jaded? I hate the familiarity of alot of the sounds on this album. Sounds I've heard in so many other artists songs, evenU2 songs.

 

I need the live versions right now so that I can hear Edge do this album justice. Larry got "programmed" right out of the band. I'm listening toUnforgettable Fire and yearning for that kind of "experimental" sound. POP still has plenty of grit and is far more interesting 10 years on.

 

Damn them. I go through this every effing album. But now I'm thinking I'm old enough to not want to hear another shimmering high noted twinkly soundever again. Harmonics are one thing, but this???

 

CEDARS could have been far more interesting if it went exploring after Bono finishes singing and was much louder when he wasn't singing. That hadexperimental sounds in it and the levels are so low I find it irritating. But I love it when Bono sings almost dry and has that very interesting story tellingvoice.

 

 

NLOTH-horrible ending to a song with so much grit built up, why'd it get nice. To start Magnificent with the title word still annoys me and the openingnotes are awful. Reminds me of Neil Diamond's America... Standup Comedy opening notes sounds like bad guitar riffs from the 70's.

 

Could you imagine this is the same band that created so many awesome first notes or initial drum beats to so many songs with instant feeling, and now nothinghere is memorable. It feels very generic when you quickly skip through them track to track. Boots & Breathe (minus the piano) kicks every time though.

"We are people born of sound."

You?

 

-s

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scottwaz wrote:

Not digging the piano sound. Why do it even? You got three songs in 30 years requiring piano on stage. What's the point in filling with songs as FILL-only

anyway?

 

 

 

 

I dont think it's a 'fill-in'. They're not the kind of band that does that. Piano gives more linear (used on purpose :)) sound to it. Just asmaybe violin could. And I plain love the sound of piano!

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scottwaz wrote:

Not digging the piano sound. Why do it even? You got three songs in 30 years requiring piano on stage. What's the point in filling with songs as FILL-only

anyway?

 

 

 

 

I dont think it's a 'fill-in'. They're not the kind of band that does that. Piano gives more linear (used on purpose :)) sound to it. Just asmaybe violin could. And I plain love the sound of piano!

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sounds like you dont want to like it!?. eno is a genius. mag,breathe,fez,nloth, are all very good songs and rank up there with some of theirbest.caller,cedars,surrender are quality too. its no jt or ab, but its the best since then easierly.

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Hey you're entitled to have your opinion of course, but I don't agree with the majority of it. It's not worth getting all worked up about itthough. You like it, fine. You don't like it, fine. Move on, listen to the albums you love. ENJOY the music, don't over analyze it because that sucksout all the wonder of it.

 

Brian Eno should be banned from helping to make any sound resembling a soft twinkly bell. Or is Lanois to blame? EDGE? The high pitch plinky stuff in FEZ for example. Too many old ears stirring this pot?

 

Eno & Lanois are great musicians and producers. I think all their contribution to every U2 album is benefiting the quality of the final product. Same thinggoes for the latest album as well. You have to remember though, that the final word is U2's. They decide what is and is not getting on to an album. Enowanted Winter to be on the album badly but U2 did not. That just proves that U2 will put on the album what THEY (the 4 of them) think is good.

 

How did Boots get past Eno and onto the album?

 

From what I've read Eno, did not want Boots on the album but eventually caved in.

 

Larry got "programmed" right out of the band.

 

I think Larry has done an outstanding drumming on this album.

 

And I love the "plinkyplonking".

 

People need to understand that U2 will create the music THEY like. If you like it too then it's great. I'm sorry if you don't.

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