Truth about 'No Line on The Horizon' by U2 (Rewritten)

Maybe all art requires a moment of processing. ‘No Line On The Horizon’ was in my previous review a disappointment. 24 hours later, I am not so sure anymore. Sure it’s not what the greatest of U2 is and maybe that’s the point, maybe this is something entirely different. Maybe it required a night of listening instead of a first impression. Maybe I was caught up in what should be and what shouldn’t.

Due to the previous review I ask for an apologue. I’ll keep the first part of the review where I write what a magnificent opening the album has because it opens as strong as it could possibly do and I don’t know on which planet I spend my last afternoon, because the middle is influencial, it’s beautiful and ‘No Line Horizon’ becomes a ‘Viva La Vida’ phenomenon. As I listen to it my fourth time I realize that I had the same problem with Coldplay’s ‘Viva La Vida’. I regret my mistake to try the quickness instead of relying on the art of music.

What ‘No Line On The Horizon’ really is, is a better version of a ‘How To Dismantle an Atomic Bomb’ and ‘All That You Can’t Leave Behind’ and the grey pieces of ‘All You Can’t...’ are composed together with the colorful energy of ‘How To Dismantle...’ which creates a new atmosphere. That ‘exclusive’ thing of ‘No Line on The Horizon’ that I closed my last review with is not especially strong. It’s weak and it’s changeable, because the thought of this as a jam session instead of a blueprint totally works and in a time frame of 24 hours ‘Moment of Surrender’, ‘Unknown Caller’ and ‘Cedar’s Of Lebanon’ joins the terrific opening of the album with ‘No Line..’ and ‘Magnificent’, and resembles into a still mellow but somewhat ‘brilliant/but not really yet’, journey in a not at all negative blurry line on the horizon, but a deep, beautiful blurry line on that horizon.

I beg a pardon for my ignorance to the art that I love.

Truth about 'No Line on The Horizon' by U2

I expect for a lot when I press play on 'No Line on The Horizon' and after song one I am thrilled about the next one. The opening intro and 'No Line on The Horizon' kicks off the beginning of a promising after noon. I love how U2 has done this thing of opening up their albums with terrific songs, just look at 'How To Dismantle an Atomic Bomb' and the song 'Vertigo'. 'All That You Can't Leave Behind' had 'Beautiful' and not to even mention the 1987, 'Joshua Tree' opening with 'Where The Streets Have No Name'. Classic songs of U2, modern as old has come through this sequence of opening up the albums.

'No Line on The Horizon' feels like a little coming back to the technical instrument aspects rather than the raw musical instruments like in 'How To Dismantle an Atomic Bomb'. Which is fine and 'Magnificent' holds on to much beauty. The in between just makes me tired. After 'Magnificent' I am facing 6 experimental tracks with onky one thumb up and that is; 'I'll Go Crazy If I Don't Go Crazy Tonight' but even though the rather mellow before and after tracks I find myself not quite paying attention to the album at all anymore. The album of March is gone, the album of the year? What are expectasions, when the result takes you down.

Still 'No Line On The Horizon' has a brave closure to it. But that doesn't mean that it isn't quick. 'White as Snow' is a beautiful technical, little experiment that I dig. 'Breath' aims it up at bit and I, that thought that I had a rock & roll album in front me. The outro signifies the rather weak album that hoped so much out of and maybe 'No Line on The Horizon' is a more litterary title that I would think it would be. The album is blurrly little line that never really comes together, it's cool for two songs and then it loses me still even though my dissapointment didn't get me sold I do agree that it was an okay album, okay but not much more. The conclusion is that even if this was a no-blueprint planned album and more of a jam session I still would like to say, stick to the blueprints. In the end I presume that this album will be either recalled as greatness or blunder, when and what that will be I am not sure of, therefore I lay myself in the middle only for it to get better as I am sure it will be as time goes by.

The Art of Anton Corbijn or The Master of Visual Images in Music

Photography and music are art forms that in many ways come hand in hand. For one certain person, this has been his living. Through music videos, covert arts and exhibitions Dutch photographer Anton Corbijn has explored a new genre of art. The art of music. Through his fantastic eyes he has captured some of the most classic covers of modern music history. His alternative, dark toned cinematography has been the foundation for some of the most artistic music videos.

Two years ago, Anton Corbijn released his first directed full feature film ‘Control’ which was a story of the Joy Division lead singer Ian Curtis and his tragically short life. When we take a close look at Corbijn’s portfolio we find classic music videos like Metallica’s ‘Hero Of The Day’ (1996), U2’s ‘One’ (1992), Nirvana’s ‘Heart Shaped Box’ (1993) and numerous of Depeche Mode videos and Joy Division's mythical ‘Atmosphere’ (1988).

As U2 is releasing ‘No Line on The Horizon’ and as I wrote my ‘Captain Beefheart Tribute’, I find it rather interesting that the man behind the first mentioned band’s most classical album is this artist and that Beefheart’s last musical work was shot and captured by the vision of Cobijn.

The raw photo of U2's "Joshua Tree' Art Cover. (1987)

At the year 1987, Anton Corbijn captured the fantastic, incredible cold image of the Joshua Tree for the album ‘Joshua Tree’. The image is one of Corbijn's most recognized works and he has later on worked with artists like Nick Cave, Dave Gahan and the legendary San Diego folk/alternative Tom Waits.

Corbijn's Ian Curtis-film 'Control' (2007).

What to be acknowledged through Cobijn is his fantastic vision and view in the participation with some of the most artistic pieces added outside the music, in the music history. Corbijn’s edge is a brilliance to his business and with his latest work Coldplay’s ‘Viva La Vida’ music video Corbijn show’s hope to the art of music videos which has become and has been for a very long time an important medium in the art of music.

The raw photo of The Killers 'Sam's Town' (left) and legend Tom Waits (right)

All pictures are taken by Anton Corbijn and was found on his website. For more information on Anton Corbijn visit his website: antoncobijn.co.uk