It’s a strange state of affairs when after the mullets, the McPhisto, the Dance-experimentation and the politics, U2 are regarded as the biggest band in the world. Perhaps it’s down to the prominence of the 40-something record buyer, perhaps that maybe they just have the best tunes, but surely one would think that after more that 25 years in the game some young pretender would have come through to steal their crown. Though some have come close, or for a time actually were top dogs (Oasis, Red Hot Chilli Peppers, Radiohead) and some may yet (Coldplay, The Strokes) no band has yet come close to really giving U2 a serious run for their money.

And so U2 return with their 12th studio album. Recorded in their own studio during 2003 and early 2004, an album which at its early stages was influenced, to paraphrase the Edge, by the Strokes, The Hives and BRMC. While these influences may be clear in a few tracks, it would appear that the biggest influence on this record is the groups back catalogue. At times, listening to this album, one can’t help but get the impression that this all seems a bit familiar. And it is for this reason that this collection of songs work best.

The album opener, and lead single, Vertigo, is 3½ minutes of pure pop/rock perfection. Chainsaw guitar-riffs, Stadium-sized chorus, this song works almost too well and is as good as any the band have written before. Perhaps the Strokes/Hives promises would be delivered? However this bombast is short lived and immediately after we are back to the more contemplative U2. Miracle Drug is inspired by a severely handicapped school-friend, who through the miracle of modern science overcame his handicap to become an award winning poet. Similar in vein to Stuck in a Moment… from All That You Can’t Leave Behind it builds up to a fantastic crescendo with Bono’s vocals proving as good as ever.

The contemplative theme continues through to Sometimes You Can’t Make It on Your Own. Written in memory of Bono’s father its lyrics deal with growing old and living in the shadow of from where you have come from. Musically it’s Joshua Tree-period U2 with certain nods in the chorus to Coldplay, potentially a future single and sure to inspire mass lighter-waving at a stadium near you this summer. Of all the songs on this album where the modern influence Edge was so keen to promote, becomes stark is on Love and Peace or Else. Obviously Black Rebel Motorcycle Club was on heavy rotation in Hanover Quays at this point as it almost sounds like a tribute. With heavy blues influences and stumbling perilously close to sounding like a sermon, like most songs on Side A this song works for some strange reason.

Side A closes with a couplet of songs that personally I find to be what U2 do best. Mid-to-Up tempo tracks with a chorus that makes the listener just think “Perfect. Exactly what I was looking for.” The first of these tracks, City of Blinding Lights, sounds almost INXS-y in its intro but once the chorus comes in you know your home. It’s a love song that’s more about a set of circumstances that magnify the emotion. All Because Of You is rocky, loud and echoes a little bit of glam-rock in its backing. Without saying anything it sums up what the chorus goes on to scream, it’s probably Elevation MkII.

One may be forgiven after reading this that there is precious few faults in this album. Well unfortunately, with the exception of Crumbs from Your Table and Fast Cars, Side B lets the side down. A Man and Woman screams filler and it’s only saving grace being that it amplifies the greatness of the aforementioned CFYT. One of the most dangerous traps that a band in U2’s position would be to avoid becoming too political on wax. As most of his spare time is spent trying to save the world, Bono should use his recorded output to remind us why he has the Pope on speed-dial and he doesn’t return George W. Bush’s calls. For all it’s worth Crumbs….. walks a fine line, but gets away with it…just.

One Step Closer, Origin of the Species and Yahweh, although by no means, particularly Yahweh, weak songs, they do however fail to match the quality of what has gone before. Perhaps it’s simply a pleasure overload, for these songs would probably match the best of any other band; however it just seems that the album closes on auto-pilot, depending on where you’re from.

I say this as final track Fast Cars, originally slated to be released on Japanese exports only, then accredited as being a UK-only bonus track, so confusion will reign as to whether or not it made it to all territories. The song, source of the album title, is starkly different to much of what has gone before, although being up-beat, it remains largely acoustic and contains some heavy Eastern and African influences, the irony that Americans may not get to hear this may be the biggest political statement on the album.

Throughout their history U2 have very publicly experimented and experienced. From winter wonderlands on New Years Day to Lemons and Popmart, via Berlin and ZooTV, the band has evolved so much that their present form is akin to an older version of the original model. However as with their last album and continuing here this re-invention seems to have taken place behind closed doors. The group seems to have looked at their past, realised that they have done the pop-star thing and come out the other side. Now it’s back to what it was all about in the first place; writing cracking tunes and just being boys in a band.

8/10

Standout Tracks: Vertigo, Miracle Drug, All Because Of You.

David Macnamara