U2
How To Dismantle An Atomic Bomb
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It’s been an incredible year for records that have been annihilated by heightened expectations. Unless you read Rolling Stone, which gives every record four stars, new offerings from artists such as Eminem and REM have been doused with profuse disparagement and justifiable criticisms from even the most devoted fan. I’ve been in the middle on the aforementioned records and although I think U2 is the best of the three, it’s still a slight disappointment given how strongly embraced their previous effort was, and rightfully so. A lot of fans lately seem to be downcast by the fact that their favorite artists are making adequate records instead of something that is novel or even original. One can easily illustrate a rather conclusive argument that mainstream artists such as these have grown a bit complacent due to bruised ego and heightened expectations. Along with U2, it seems that most bands are happily embracing mediocrity. Your tolerance for arena anthems that really offer nothing innovative is what will determine the breadth of your adulation for U2’s latest.

How To Dismantle An Atomic Bomb is a fine rock record that aspires for nothing more than to please the ears. There’s nothing wrong with that necessarily, just like there’s nothing wrong with REM embracing mid-tempo balladry or, for the more adventurous listener, Eminem sticking with the brand name toilet humor as the dominant force on his latest. U2 clearly has a trademark sound and it works for the airwaves. Does it always succeed? Not exactly but on the majority of this record, they’re playing to their strengths with songs that’ll probably sound better live than on compact disc. Perhaps the band is taking to heart the title of their last record, All That You Can’t Leave Behind, and utilizing it as the approach to their work. They can’t leave behind their penchant for poppy, sentiment-soaked national hymns that will undoubtedly leave most fans utterly content while detractors will have plenty to bitch about.

The problems start early unfortunately. Unlike their 2000 return-to-form opus which contained a one-two-three punch of the best songs on the record, the first single, “Vertigo,” opens the record only to trickle into two radio-ready ballads right away. It’s a bit of a false start. Not only is “Vertigo” one of U2’s most outlandishly ridiculous songs, it really gives the impression that the band is here to bring the rock, only to pull the rug out by revisiting Joshua Tree-era slow dives. At least Bono’s earnestness shines through when he sings “You’re the reason I sing/You’re the reason why the opera is in me” during the standout gem, “Sometimes You Can’t Make It On Your Own.” The lyrics aren’t exactly Bob Dylan or Dylan Thomas, but at least Bono’s strong falsetto sounds anything but forced as he sings directly to his late father. “Love and Peace Or Else” is another lyrical misstep redeemed by the records’ lone attempt to branch out a bit sonically. Unfortunately the music itself cannot override its scattershot attempt at being socially aware. At least it’s quickly followed by the best song on the record “City of Blinding Lights,” with its aching albeit recycled declaration of “The more you know/the less you feel.” Another standout is the succinct, gravity-pulling, “One Step Closer” which is one of the best songs U2 has done since the 90s and it makes up for its lack of catharsis with soothing ambiance. “Crumbs From Your Table” contains a pre-chorus that apes John Lennon’s “Nobody Told Me” by way of an 80s-era power ballad.

How To Dismantle An Atomic Bomb lacks concentration in terms of a structural narrative which is a shame given the album’s title and the times we live in. But maybe they just wanna rock in the face of a rather politically homeless era. Unexpectedly this is actually more of a tranquil effort after getting past the first track. “Vertigo” may have an infectious hook and a steady beat, but Bono couldn’t sound sillier spouting off some of the worst lyrics of his career. It’s more of a rhythmically-driven guitar record (which is a good thing in my eyes since The Edge is a phenomenal talent). However, you would wish that they would infuse a fragment of experimental variety in terms of production with the proceedings a’la Achtung Baby, still the band’s masterpiece. Only during the plentiful ballads does Bono’s voice truly soar and he is forgiven for the blah-blah-blah lyrics, and the band is more than happy to accompany him all the way. “A Man and a Woman” would be a complete throwaway if it weren’t for the welcome introduction of an acoustic guitar and Bono’s strength as a singer. Perhaps the band thinks it can get away with a record of clichés and it’s possible that with one more endeavor like this, I personally don’t think I will follow them as avidly as I once did. This comes off as a slightly-above average transitional album that will hopefully lead the band in a more interesting direction. It’s not great, it’s not terrible, it just is what it is. A solid U2 record.

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