http://www.pitchforkmedia.com/article/record_review/149460-u2-no-line-on-the-ho rizon Why U2? How did these four Irishmen become the blueprint for every band with stadium aspirations? The Edge's churchly guitar chime-- which thrives on the same arena acoustics that can turn otherwise booming bands into mud-- is certainly a factor. So is their weakness for the big gesture-- whether it be a giant lemon, heart, or mouth. And Bono's cathartic mix of modern panacea-- love, God, mass culture-- gives them a reach to the back row and beyond. But, perhaps above all else, the band's restlessness and willingness to challenge both themselves and their patrons is why the Killers, Kanye West, and Coldplay want to be the next U2 and not the next AC/DC. It's why these four Irishmen still represent the punk spirit decades after they emerged from it. 简单在解释一个现象 为什麽现代很多乐团如杀手 肯依威斯特 冷玩在迈向体育场的路上 依循的道路蓝图是U2 而不是AC/DC "You've got to balance being relevant and commenting on something that's happening today with trying to attain timelessness," philosophized the Edge in the early 1990s. The quote sounds like rock star bullshit...until you realize that's pretty much what U2 did for 20 years. From 1980 to 2000, it was difficult to tell exactly what the next U2 album would sound like. Briefly: They added atmosphere to new wave, looked for God and found hits, exhumed their rock'n'roll heroes, sent-up those same heroes while losing their religion, and punctured pop via mutated techno. Each move was more audacious than the last-- even 1997 knee-jerk victim Pop saw the world-beating act taking completely unnecessary musical and financial risks in the name of Warholian post-modern pastiche. They then also managed to surprise on 2000's All That You Can't Leave Behind by successfully returning to form after shrugging off the notion for so many years. But 2004's How to Dismantle an Atomic Bomb and its subsequent tour were troubling. 可以学很多形容词的一大段 简述了1980-2005年U2在乐坛上的一些成就与表现 关键语就是 从1980年到2000年要跟人家预言U2的下一张专辑会长什麽样子是一件非常困难的事 That record saw four guys famous for dabbing classic rock into all sorts of impressionistic frames (or dismantling it entirely via Village People costumes) uncomfortably grasping for old-fashioned riffs, when they weren't mindlessly feasting on their own past. It was completely predictable ("City of Blinding Lights"), canned ("Vertigo"), and depressingly Sting-like ("A Man and a Woman"). But the group did little to hide the fact that they were basking in their early-century comeback's afterglow; in concert, in place of the ATYCLB tour's heart-shaped runway was a, um, circle-shaped runway. Still self-aware enough to sense stagnation, the quartet began to work on what would become No Line on the Horizon with new producer Rick Rubin and an imperative to break all those piling U2 trappings once again. As Bono told The New York Times this week: "When you become a comfortable, reliable friend, I'm not sure that's the place for rock'n'roll." 在评论这一张专辑之前 先花了一些篇幅谈"如何拆除原子弹"最後引到这一张的新制作人 Sixteen years ago, U2 worked a snippet of Public Enemy's "Don't Believe the Hype" into their technologically prescient Zoo TV tour-- perhaps fans should heed that bit of sampled advice right about now. Because while this group of slick talkers may have set out to expand their own definition once more, they've ended up with old collaborators Brian Eno and Daniel Lanois --along with an album that's neither relevant nor timeless. 这一段主要在讲聆听这一张的线索 可以追溯到90年代初期U2的一些活动 例如十六年前与Public enemy的合作与 Zoo TV tour First single "Get on Your Boots" is a worrisome harbinger-- to call it a mess would be generous. The song combines sub-Audioslave riffs with Escape Club's "Wild Wild West" and sounds more disjointed than the worst Girl Talk rip off. "I don't wanna talk about wars between nations-- not right now!" claims Bono on the song, before extolling the virtues of tight leather boots. His off-the-cuff attitude and delivery suggests a cheekiness missing from U2's music for more than a decade, but it's a red herring. While other tracks like "I'll Go Crazy If I Don't Go Crazy Tonight" and "Stand Up Comedy" feature knowing lines that examine the singer's faults and hypocrisy, the album is heavy on half-assed word-salad characterizations and the sort of meaningless platitudes Bono used to be so great at (barely) avoiding. And there's a strong theme of resignation running through the record; whereas many classic U2 tracks have come from Bono's struggle with faith and certainty, he seems content to give up agency on songs like "Moment of Surrender" and "Unknown Caller". "I've found grace inside a sound," he sings on "Breathe", and the line seems like a cop-out from a man who spent so much time struggling with salvation. Meanwhile, the album's ballyhooed experimentation is either terribly misguided or hidden underneath a wash of shameless U2-isms (the three-note ring Edge nicks from "Walk On" for "Unknown Caller", the "oh oh oh" outro from "Stay" apparently copied and pasted into "Moment of Surrender", etc.). While Eno used to work his unique sound-bobbles and ambiance into the fabric of U2 songs, he seems content to offer spacey intros totally disassociated from their accompanying tunes here (see: "Fez - Being Born", "Magnificent"). And oftentimes the band mistakes risk-taking for ill-fated arrangements and decisions. "Surrender"-- reportedly improvised in one seven-minute take-- comes across as lazy indulgence, and the title track's hard-nosed verse is torpedoed by its deflating fart of a hook. As the go-to sonic innovator of the group, the Edge dials in a particularly dispiriting performance throughout; his rare solos usually pack in enough panache to fill stadiums but his bluesy blah of a spotlight on "Surrender" would barely satisfy a single earbud. "It keeps getting harder. You're playing against yourself and you don't want to lose," Adam Clayton told Q last month. And he's got a point. After nearly 30 years of chart crashing and sell-outs, starting afresh can't be easy. There's only one "One". In a way, U2 spoiled their followers by consistently questioning themselves while writing songs that straddled the personal and collective consciousness. But Horizon is clearly playing not to lose-- it's a defensive gesture, and a rather pitiful one at that. MySpace: http://www.myspace.com/u2 - Ryan Dombal, March 2, 2009 以上三段不翻了 基本上是一个一个track拿出来鞭 想学尖酸刻薄的形容词 以上三段是很不错的教材 但是 Pitchfork干嘛这样评呢? 或许这一篇文章可以给你一些答案XD http://shower.blog.iwrock.net/post/3/1004 -- 非淡泊无以明志 非宁静无以致远 诸葛亮 (无大智者安能出此语) http://tw.youtube.com/watch?v=uhV4me_k8Y8 --

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