Search - U2 :: How to Dismantle an Atomic Bomb

Major Disappointment

Bill R. Moore | New York, USA | 04/14/2010

(2 out of 5 stars)

"U2's All That You Can't Leave Behind was a glorious comeback, but this follow-up was a major disappointment. It is one of their weakest albums, and only hard-cores should bother with it. Everything characteristic of good U2 is absent: irresistible huge melodies, engagingly thought-provoking lyrics, atmospheric soundscapes, Bono's soaring voice, etc. The songs suffer above all from a distinct lack of melody and are generally uninteresting; in contrast to even most of the band's mediocre tracks, they are nearly all forgotten immediately. U2 should be commended for trying new things; it would have been easy to repeat All That, and nearly anyone else would have, but they kept experimenting as they always have. Unfortunately, though, the experiments are simply bland. Bono billed the album as U2's first real straight rock attempt. We can certainly see this in lead single "Vertigo," but it is really not anywhere else. The rest is basically what anyone would think U2 would sound like if they failed to write good songs. In a sense it is good that the album is not full of "Vertigo"-like cuts - or would be if the rest were better. "Vertigo" is far from their best; it is initially interesting to hear driving rock, but the charm quickly wears off, and it becomes clear that the song is very minor. Its generic rock guitar does not equal The Edge's usual chiming chords, Bono's singing moves from boring to annoying, and the words are almost embarrassingly bad. This last does hold throughout the album, though thankfully to a lesser extent. Some complain about a lack of political lyrics, but this is not inherently bad; the same can after all be said of Achtung Baby, perhaps the band's masterpiece. The problem is that the lyrics are simply asinine, failing to tackle not only the big issues for which U2 is known but anything of worth. Bono has deftly probed non-political issues like love and human relationships, but this can hardly even be called superficial. He does continue his tradition of closing with a direct God address, but even it fails to move. His singing is also disappointing; he barely even tries to hit his signature high notes, and all his usual vocal acrobatics are sorely missed. It is of course unrealistic to expect him to sing as of yore, but anyone who has heard U2 live knows he can do better. "Sometimes You Can't Make It on Your Own" is the only exception to all this - an affecting monster ballad of the kind only U2 can deliver. Casuals may want to get it somehow, but it is certainly not enough to justify buying the album. One should definitely have nearly every other U2 release before even considering this - if one ever considers it."

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Grain O Sand | erf | 02/04/2010

(2 out of 5 stars)

"Really not very interesting at all. Socially conscious lyrics sans ooooomph. I really haven't liked much U2 has done since "Achtung Baby"."

What More Could You Want?

Irishgal | Arizona, USA | 05/15/2010

(5 out of 5 stars)

"When it comes to U2 albums, it seems that nearly all of them are surrounded by controversy. Which one best represents the band's message, their evolution, their growth? As a relative newcomer to the Irish supergroup, it's an argument that I've stayed away from. I tend not to look at music for its evolutionary value but for one thing: do I like it or not? And when it comes to "How to Dismantle an Atomic Bomb", I like it.



Upon first hearing 'Vertigo', I thought that the band had picked up right where they left off after 2000's "All That You Can't Leave Behind". The song seemed to be a relative of 'Elevation', though with more melody and energy. The rest of the album is more rock-oriented than its predecessor, though. In fact, to me, much of the album nods back to the 2000 release; 'Sometimes You Can't Make It On Your Own' is a near-rewrite of 'Stuck in a Moment You Can't Get Out Of', though with a gorgeous guitar backing and slightly more desperate feel. However, this one isn't a strict copy. The guitar riffs here echo throughout the record, and while the pattern ties everything together, it doesn't bore. Some of the highlights include 'Miracle Drug', 'City of Lights', and 'Yahweh', which, like so many U2 songs, speaks of spirituality.



I think to understand this album, you have to listen to it. Yes, it's wrapped neatly with a bow. Yes, some of the musical elements carry through all of the songs. But is that a bad thing? I don't think so. Maybe it's because I'm not a U2 fan from back when they first started (I wasn't born yet). But it's an album with thought-provoking lyrics and great melodies. What more could you want?"