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| DEUTSCHE VERSION |
| On 1 and 2 November 2004 four Pre-Listening-Events took place in Germany. Journalists and guests had the opportunity, three weeks before its official release, to listen to the new U2 album How To Dismantle An Atomic Bomb and watch a short video interview with the band. Universal Records invited to attend sessions in Hamburg (Ufa-Palast), Berlin (Universal building), Munich (MaXX) and Cologne (Ufa-Palast). The events lasted about an hour and consisted of three parts: a five-minute EPK (electronic press kit) featuring comments by the band on the new album, the full album - only bonus track 'Fast Car' was not played - and finally the Spain version of the Vertigo video. In addition guests were given some more information on the album (see scans of handouts below). Cameras and any other electronic equipment were prohibited at the events. |
| Some staff members of U2tour.de were able to participate in these events, and below independently give their first, personal impressions. Please note that, of course, their opinions are likely to change after repeated exposure to the album, also in different surroundings. Moreover, their reviews are personal and individual impressions that do not necessarily represent the opinion of U2tour.de. |
| All opinions listed here are result of listening to the album once only in partially unqualified surroundings! |
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 Pre-Listening Ticket and Handouts
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| Thanks to Bulldozer for the scans! | |||
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Vertigo
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'Nuff said about this song. The most energetic song of the album, though not necessarily the most representative. Still, a fitting first single. The slowed-down break in the middle (as in the video) is lacking on the album version. Highly memorable, great tour opener. 7,5/10
(Bulldozer) |
Die-hard guitar riffs never heard before in such a rough style by U2. Very fresh sound. The song structure, however, is extremely simple - even for U2 standards this is another low point. A classic U2 guitar riff as an overdub and there goes the first single. Unfortunately it is rather less representative for the entire album when it comes to the rocking sound and toughness. 6/10
(Phaser) |
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U2 go punk rock: what had always been promised with this song finally becomes reality. At the same time, Vertigo is the perfect opener for the new album, for no other song on this CD has more energy or such a straight forward melody. Only that the middle passage is a tad bit boring is disturbing. 7/10
(U2tomorrow) |
Great opener for the new album - U2 once more rock! A punky guitar riff is driving the song forward, reminiscent of 'Boy' days, Bono's voice is its old self, and the slower middle bridge reminds of 'Out Of Control' or 'I Will Follow'. As Adam said about the album: 'This time we left the anti-rock sentiment at home.' 8/10
(Malakas) |
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Miracle Drug
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Starts slowly, but gains power after the second verse with heavy guitar and after the chorus with a second bass line. Could be a single release! Larry is supposed to have sung on this track, but I did not hear it. Epic, an absolute highlight. 8,5/10
(Bulldozer) |
Distinct tom drums and a driving bass, and unfortunately also a quite artificially sounding synthesizer (company presets?). Rather slow to medium tempo. The production pleases me rather less. The end of the song is characterised by an Edge slide-riff and quite a nice vocal line by Bono. In addition, there's also a typical U2-shaker in the background. 6/10
(Phaser) |
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A very weak second song that after Vertigo sounds almost amateurish. The song starts off with a lot of keyboards and bass, is supported by midtempo drums and partly very hard guitar riffs. Towards the end Miracle Drug clearly speeds up and is a bit reminiscent of the strong sounds of the Joshua Tree era. Nonetheless unfortunately one of the weaker songs. 4/10
(U2tomorrow) |
After a simple piano intro (similar in style to a number of the album's songs openings), bass and drum kick in mercilessly, like 'With Or Without You' on speed. Despite this promising opening, though, the song remains a little characterless - its lacking a memorable chorus, and with lines like 'Freedom has a scent/Like the top of new born baby`s head' Bono is reaching his lyrical low. 7/10
(Malakas) |
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Sometimes You Can't Make It On Your Own
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A ballad, put across with much feeling from Bono (with some falsetto in the chorus) - clearly Bono had to deal with his grief here. After a break two thirds through the song, the song picks up in speed. According to Universal staff, this is the 99.9% next single release, though it clearly would fit much better into the pre-Christmas market than February. Something is missing, though. Hardly a memorable melody, but lyrically very strong, dedicated to Bono's father. Somewhat reminds me of 'Heartland'. No comparison to classic tracks like One, WOWY or AIWIY, but still beautiful. 7/10
(Bulldozer) |
There's a 99% chance this will be the second single from the album. Bono wrote the song for his father. Larry occasionally emerges with rimshots. Vocals are thickened by echo effects and the song sounds more unplugged, thanks to the acoustic guitar. It grows and grows - up to the end. Edge experiments further with some pitchshifting sounds, like on "Peace on Earth". There is still yet another nice slide break. In general the Song is nicely done. For me however, the scheduled release date (February 2005) is a bad choice - this is a typical Christmas song that serves perfectly as a present, thus a classic U2 ballad for the Christmas market. Very solid. 8/10
(Phaser) |
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The acoustic guitar kicks in immediately and dominates the tempo for this ballad, in which Edge is using his falsetto voice. Towards the end of the song the tempo speeds up again and Edge is creating a thick soundscape, that could turn out very interesting in its live version. 7/10
(U2tomorrow) |
A classic U2 ballad, as always the third track on their albums. Written for Bono's father ('You´re the reason why the opera is in me...'), Edge is singing the chorus in falsetto, joined by Bono's fragile baritone. After a while the song becomes more hymn-like, soaring high, in order to round out into a dreamy soundscape. Certainly not as good as 'One', but U2 prove that 'Stuck In A Moment You Can´t Get Out Of' was just an unnecessary detour. Likely candidate for a single release. 8/10
(Malakas) |
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Love And Peace Or Else
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Five (!) producers had their hands in this song, and you can hear it - much more work went into this track than the others. During the first few seconds one worries that the song never takes off, but then it heavy drum/bass groove to the very end. Edge comes into his own, and gets you to nod along. A song very different from the others! And not half bad. 7/10
(Bulldozer) |
An intro with fat synthie-bass sounds? Very spacy. For me it's a possible tour opener as I expect U2 to do the exact opposite of what everyone expects them to do. Thus surely a genuine underground sound with fat drum beats and beautiful echoes on the toms. For me the entire song sounds like a genuine spontaneous session recording which hasn`t been altered much. It reminds me a little of Black Rebel Motorcycle Club - at least for the dirt factor. The bridge is done quite nicely. Edge also puts some unusual whammy pieces into this song. Nevertheless... a good beat does not automatically create a new supersong. Where is the rest? 4/10
(Phaser) |
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Wow, U2 on a brilliant, innovative trip. The song kicks off with tough bass- and guitar sounds, supported by synthesizer chords. Bono's voice is nearly unidentifiable in the beginning and reminds one of his famous ‚Bongolese'. Half way through the song there are distinct breaks, emphasizing Bono's voice and leaving space for Edge's ringing guitar. Love And Peace Or Else sounds like Passengers on ecstacy. 9/10
(U2tomorrow) |
Undoubtedy the best, most innovative and most courageous track on the album. A druggy blues, Queens Of The Stone Age could not have done it better. Heavily distorted, slurred bass and guitar open the song, before giving way to Bono and a heavy rhythm (including slow hand clapping). Nodding and stomping along is inevitable, until it all ends in a beautiful noise. Fantastic. 10/10
(Malakas) |
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City Of Blinding Lights
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Friends of the classic U2 song will be rewarded with this track. One or the other U2 songs seems recognizable here - the driving guitar is reminiscent of WTSHNN, particularly in the lengthy introduction (the longest on the album, about a minute before Bono joins in). Still, also this song lacks something! It seems unfinished to me, the chorus is too plain for a classic. Potential for a live stadium hymn is there, though. Doesn't particularly touch me, maybe too straightforward? During the tour I wouldn't be surprised with a shortened re-recording as a single. Not my cup of tea as yet, but has potential after some more practice live. 6/10
(Bulldozer) |
A single release candidate (though I hope not!). Edge starts off with a powerful feedback and then with a typical, "Wire" like guitar riff. U2 return to the 80es. There's also a nice bit of a melody in the chorus. But unfortunately it's not more than a fragment. The entire sound of the song is not really my piece of cake (production?). And if the song is not right, then even the best producer (Flood) can't help. This xylophone samples didin`t work with "THTBA" either - its no different here. They simply do not fit with the rest. The entire song sounds very incomplete. 3/10
(Phaser) |
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City of Blinding Lights is dominated by an unforgettable piano melody and a guitar reminiscent of Helter Skelter. The song is perfectly memorable, classic U2 and will be a brilliant sing-a-long throughout the upcoming U2 shows. Only the noticeable closeness to Kraftwerk's 'Neon Lights' (which was even covered by U2 and is now one of Vertigo's B-sides) and its length reduce the rating. 8/10
(U2tomorrow) |
Together with 'Love And Peace' and 'Vertigo' the album's quality guarantee, perfectly positioned after 'Love And Peace". Slow start with keyboard tones reminiscent of Kraftwerk's 'Neon Lights', then 'Where The Streets…' like guitars rise to a bombastic chorus that without question will be a highlight of the forthcoming tour: 'You look so beautiful tonight'! 9/10
(Malakas) |
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All Because Of You
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Edge is great here, already in the first second he knocks you down with an ear ache. Plain, simple, good. I cannot quite come to terms with Bono's vocals, though, which is slightly irritating and in terms of melody doesn't fit the music, accompanied by an uninspired - but memorable - chorus. Shame, sounds unfinished, more would have been possible. Maybe Bono has some idea? Thanks to Edge, it's still 6,5/10
(Bulldozer) |
The Song starts off with a strong panning effect on the guitar. Quite funny - however, is this to divert the listener already at the start from the actual song? Which song actually? I`m still looking for one. Though I am already at home. Please note: a distorted guitar in the Vintage Amp plus four chords still don`t turn into a super single. Bono's singing is far from good. Neither does it fit the actual song, nor does it sound beautiful at all. I would even call it "flat". On a more positive note, one has to point out the more than once used technology of vocal doubling (Edge). The guitars otherwise sound quite filthy and sharp. For me a Hiwatt and a Telecaster. The song, however, is not among my favourites. 4/10
(Phaser) |
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The song is a tight continuation to City of Blinding Lights. Another easy to remember chorus, another classic U2 song, on which Bono helps out on guitar. It may well be a left over from the Achtung Baby sessions. Despite all rumours: not really a song with the potential for a single release. 6/10
(U2tomorrow) |
Anyone who knows the 'Achtung Baby' outtakes will (finally!) recognize the crashing 'Gonna Blow Your House Down' here. Drums and guitar - after a screeching guitar opening - chase through the song, after 'Vertigo' probably the most rocking track. Though the melody quickly sticks in your head, the chorus is a little weak and not particularly original. A standard U2 song, that equally could have found its place on the last album. 7/10
(Malakas) |
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A Man And A Woman
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From the title a ballad, but not quite, as it turns out rather mid-tempo! Still a love song, of course. Quite long lyrics, Bono is clearly making an effort here. A typical Adam bass line completes the song. Requires repeated listening, though. 6,5/10
(Bulldozer) |
Another more acoustic guitar orientated song. For me it unfortunately sounds like transition music for film scenes. I imagine an actor in his convertible driving through the landscape. The song would perfectly fit as a background to that. But not for more. I don`t even want to start thinking of it as a single. Edge tries to rescue the song with a nice U2-type riff in the chorus. Nonetheless... it trudges along. It reminds me a bit of the quite long-winded B-sides from the The Joshua Tree era. Sounds a bit like Dancing Barefoot. 4/10
(Phaser) |
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The absolute low point on the album is A Man And A Woman. The song sounds like a third class Joshua Tree B-side, a slow motion version of Dancing Barefoot. A boring acoustic guitar and a less than innovative melody leave this song far behind the rest. 2/10
(U2tomorrow) |
Weakest track, so to speak the album's own 'Wild Honey'. Starts with plain acoustic guitar and drums, then slowly picks up again, and ends as it began, but remains stuck in mid-tempo, has hardly any melody, somehow sounds bored, and can be ignored as an uninspired pop song. 3/10
(Malakas) |
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Crumbs From Your Table
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Whoops! While some songs start of slowly, this song is groovy straightaway, accompanied by an unchained Edge, once more putting his mark on a song. I'm already excited about the live version. Musically great. Possibly a single release. 7,5/10
(Bulldozer) |
A groovy drum beat with driving bass. Very beautiful. This could easily become a single. The melody sticks in your ear. Especially the guitar riffs at the beginning remind me of the Achtung Baby Outtakes from Hansa Studios. They probably used up some old material here. For my that isn`t necessarily a bad thing. The result does the trick. Especially due to the outro this is a possible song for closing their live shows. The synties however sound quite horrible here. They do not fit the temparature of the remaining instruments - at least not for me. It's hard being a musician. 8/10
(Phaser) |
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Crumbs From Your Table is essentially in the same mould as All Because of You. Despite its stronger bass and guitar sound and its more epic feeling, one really needs to point out that Steve Lillywhite didn't do a great job on this and the two previous songs. We've heard him with much better productions. To sum up, this song sounds a bit like Walk On, but much more boring. 4/10
(U2tomorrow) |
Fortunately much better again, though another mid-tempo track. Opens with a typical Edge guitar intro, a mellow, soulful song, before halfway through shifting gears in best 'Walk On' style. Typical U2 Song with heart and soul, though at first listening a little lacking in melody. 7/10
(Malakas) |
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One Step Closer
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Warm, emotional song, suitable for winter evenings. Sounds calm and modest, but picks up in tempo after all. Clearly influenced by Daniel Lanois, and sounds different from the tracks produced by Steve Lillywhite. Will surely touch many. 6,5/10
(Bulldozer) |
This song is ideal for persons with messed up relationships. It drives one - if you should have been undecided before - straight into the arms of death. The final step is much easier for me now - just because I do not have to bear it any longer. The entire song sounds extremely depressive to me - which I honestly find very unpleasant in this form. The synthiescape and the soft guitars at least show some atmosphere - however in a questionable direction. I honestly don`t get the message of this song. Once again the producer couldn`t save a thing - even if it's Lanois and he probably used his pedal steel guitar during his last Dublin visit during his 2003 tour. 5/10
(Phaser) |
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Wow, One Step Closer takes the CD out of its midterm low and reminds one of the atmosphere of 'The First Time' - get out your sparklers! The song sounds like made for Bono, whose singing - and lyrics - really push the song forward. Especially the chorus really kicks in. Wim Wenders would love this song and will probably use it in one of his next movies - I have no doubts about that. 8/10
(U2tomorrow) |
The most atmospheric song on the album, initially sounding somewhat like 'Passengers' ambience. Sparsely instrumented with emphasis on Bono's vocals, the guitar a reminder of 'With Or Without You' sounds. Towards the end the song builds up to a seeming climax with Larry's drums pounding, only to falter without granting just this grand finale. Overall a track difficult to access, but it promises - just like 'So Cruel' - to prove its class after repeated listening. 7/10
(Malakas) |
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Original Of The Species
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Whoever thought this album would slow down towards the end was wrong. Despite an unmemorable opening, the song quickly develops into a nice number. I'm tempted to put this one down with single release potential, if it weren't buried so far back on the album. A varied song with clear structure, supported by piano. A remixer could have fun here. Fits well, I like it. 8/10
(Bulldozer) |
Yes! The first song with a real chorus - the one I have been waiting for over half an hour now. It immediately promotes the song to a single candidate. I'm clinging to anything now. There isn`t much left. The guitars sound very much like U2. Very ringing in the style of Big Country. I know... I shouldn`t really put it this way... however this is a song to which I would like to have sex to from time to time. Marvelous! 9/10
(Phaser) |
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Well, U2 are definitely in competition with the Beatles here! A wonderful ballad, supported by piano and less obvious drums. Towards the end of the song Edge takes control and makes Bono's voice sound brilliant. It all sounds like brilliant Achtung Baby era, and like the right song to seduce a beautiful woman with a bottle of red wine... 9/10
(U2tomorrow) |
The new 'Walk On'. Piano and vocals dominate the song, while bass and guitar remain in the background. More rhythmic towards the chorus, the whole thing sounds a little too much like The Beatles during their 'Sgt. Pepper' area. Another standard U2 song - good, but not stunning. Could be amazing live (just like 'Walk On' did not come into its on until played live), particularlyif going in the direction heard at the Apple iPod Presentation, with only piano and vocals. 7/10
(Malakas) |
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Yahweh
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Yahweh? Oh dear, that'll be another kitschy 'Grace'… Wrong! Rather sounds like faster tracks like 'Do You Feel Loved'! A song with power, and U2 have rarely, not to say never, closed an album like that. Nice, something different. 7/10
(Bulldozer) |
This is the anti-'Grace'. The song is faster than any other song at the end of a U2 album. Thus we have a bit of innovation here. We are also with the last track now. Unfortunately the redundant piano already gets on my nerves a bit. Edge tries to reach into his 80es box of tricks and uses his trademark flagolett sounds like he did with "I will follow", "11 o'clock tick tock" and "Gloria" before. The rhythm guitar predominantly plays palm-mutes. The ending is a perfect 'A sort of homecoming' like ringing riff. 6/10
(Phaser) |
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The album's closing song was produced by Chris Thomas and he leaves an obvious trace: it sounds a lot like Coldplay. So it's a mid-tempo track, with Bono's singing unfortunately not quite fitting in with the rest of the song. Nonetheless a good end to an album, that with this song brings back memories of All That You Can`t Leave Behind. 6/10
(U2tomorrow) |
Rather unusual uptempo, upbeat close for a U2 album. Edge's guitar plays a continuous three-note melody in the background, while Bono praises God in Hebrew. Has potential to be the closing song for the coming tour, tough again a standard U2 fare. 6/10
(Malakas) |
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Overall Impression
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To begin with the plus points. For many, many years U2 have been promising a guitar heavy album - straight, uncomplicated and without much fuss. Here they largely keep their word, and there is hardly a song not in the end dominated by an 'angry' Edge. We haven't heard something like this from U2 in a while, and somehow the album is also different from what U2 have done so far. Respect. HTDAAB fits better with the early 80es than with the experimental 90es, and Steve Lillywhite's influence as main producer is undeniable. The songs seem very homogenous, fit together well, it is loud, and aggressive. Proper ballads are rare, and for romantic night in it's rather unsuitable - Edge is the boss! Excellent! Mid- and up-tempo tracks dominate the picture, some of which are so groovy, you'll get itchy feet. Still, the album is lacking in surprises, and I am missing the great melodies that motivate to sing along, find their way into my head, and so far have been a U2 trademark. To rock isn't everything. With three to four songs I feel that Bono's part doesn't quite fit in with the sound of the other three band members, that clear structures are missing, that tracks are unfinished and don't fulfill their potential. You can nearly hear the pre-release time pressure! At times Bono's voice sounds raspy and hoarse, though personally I found that quite fitting. The songs are by no means bad, but there is no great memorable track, as can be found on their previous albums. The album definitely requires repeated listening, which isn't necessarily a bad sign - as with previous albums, that got better with every listen, and turned out best after all. This is my great hope also with this one, for so far it hasn't quite knocked my off my feet. Therefore my rating below is not yet definitive, and definitely not bad. The band likes to speak of their 'best album'. They have to accept that as a standard, then, and HTDAAB doesn't quite measure up to it. From a band wanting to fill the world's great stadiums next year I was hoping for more. Still, thanks to Edge, 7/10.
(Bulldozer) |
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I am currently very disappointed by this album. I did expect something bad after all the current media hype. For if the product is bad, one needs to advertise even more. The bomb to me sounds very "incomplete" and has been put into action quite badly. Did I thus hear something bad? Well, time will tell. But if these songs are to represent the best from the last four years, the band should seriously consider a longer break or a split. Furthermore, Bono's extremely bad vocals left a strong negative impact on my evaluation. His melodies often sound very tormented. I am left with the impression that the three gentlemen did indeed try hard to deliver a reasonable line of intrsuments. Bono however - despite best will and ten attempts - couldn`t come up with any good vocals. And you just can`t force these things. Maybe he should sometimes really focus on his original talents and not be disturbed by other issues. This would have probably had a better impact on the new songs. For the first time in their carreer U2 sound like two bands for me, not like one solid unit. This comes as a frightening result in my analysis. One has solid drums, a solid bass, a guitarist that fairly strives for rock sounds as he has always done. But all this turns into bad by flat vocals which on first listening do not leave any recognizable strong impressions. Especially "All Because Of You" is a genuine negative example. Maybe they should have simply put all their tapes at the very back of the room and start all over again. The songs don`t sound like real live songs either - especially not in huge open air stadiums. The songs are neither catchy nor do they show their structure on first listening. On first listening no other U2 album disapointed me more or appeared to be so desireless like the Bomb. I am really sorry, but: "no applause for shit!". We are confronted with a patchwork of the last four years, which was desperately transformed into a cash cow by using 'drag and drop'. And currently it just doesn't work for me. (For the moment, after first listening, just 3/10 as overall result).
(Phaser) |
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To say it from the outset, How To Dismantle An Atomic Bomb is not U2's best album, nor this year's best album. But it's a solid and down to earth album, I am even tempted to call it classic U2. But most of all this album once again is a grower. A CD, that gets better with every listen, and the more you get used to it the more you will love it. U2 try to deliver a good mix of classic, epic songs and more innovative guitar sounds. Most of the time this works out quite well, but it is no revelation. Some of the songs sound a bit unfinished, especially some song's middle passages are disappointing. Another thing is obvious: Edge was the one wearing the trousers in the band during the recording sessions - his sound dominates the album. It's an open question how these songs will perform live. There is reasonable hope that the band manages - as with Pop - to make some songs grow. Though it would have been better if they had achieved this within their four years in the studio. Nonetheless, How To Dismantle An Atomic Bomb is a lot of fun, and if using the skip-button for tracks 6 to 8 you might even find it brilliant. 7.5/10
(U2tomorrow) |
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Overall the album offers a clear continuation from 'All That You Can´t Leave Behind'. It yields typical, good quality material from a band that has found new courage, as can be heard particularly in 'Love And Peace'. In addition, U2 have re-discovered rock, at least during the first part of the album. In the second half both tempo and ideas unfortunately take a step back (with the exception of 'One Step Closer'), as if U2 tried but failed to maintain the guts to deliver a more controversial , more demanding album. 7/10
(Malakas) |
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Weitere Infos
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