U2
Pop
»
U2
Pop
Island, 1997
RiYL: Brian Eno, In Tua Nua, R.E.M., Sting |
It creates Pop.
Pop, U2's 11th album, is another bold and exciting chapter in the band's already lucrative career. Like its predecessors, the album is consistent, clean and superbly produced. U2 has mastered the ability to stay near its simplistic roots, yet successfully venture bravely and enthusiastically into new realms of rock.
The sound-shaping journey began more than a decade ago, when studio genius/producer Brian Eno helped U2 create The Unforgettable Fire, derailing the group away from the more accessible sound of Boy, War and October.
The incredibly successful and radio-friendly The Joshua Tree, the Euro-trash romp Achtung Baby and the bold and technically creative Zooropa followed, as U2 cemented itself as one of the highest-profile bands of this era.
Enter Pop, a smooth and creative effort that delves deeper into a world of tricky rhythms, funky bass-lines, distortion and sound effects. The title itself almost mocks rock and roll, further evidence of U2's efforts to break free from the mainstream and explore techno, electronic chaos, sampling and digital manipulations.
A scary concept, perhaps, for fans who long for the rock precision of The Joshua Tree. But before wary listeners dub Pop a complete leave of absence, energetic album opener "Discotheque" will set cautious minds at ease. The song is a magnificent blend of techno glitz and gritty guitar, reassurance U2 hasn't forgotten the forceful riffs and driving rhythms that fueled its rock stardom.
The subsequent tracks are a concoction of experimental gems, such as the distorted, soul-searching "Wake Up Dead Man,'' the Achtung-ish "Gone,'' and feel-good rock anthems such as "Do You Feel Loved'' and "Last Night On Earth.''
Pop stays consistent throughout, almost to a flaw. Yet it contains enough subtle surprises -- hear the grinding electric guitar in the dynamic "Mofo,'' the trip-hop wizardry in the sedated struggle "Miami'' and the soothing wind chimes in the dark and lustful "If You Wear That Velvet Dress'' -- to keep things interesting.
Lead singer Bono's lyrics remain established, taking on familiar themes of love, faith and the undying obsession with America's dark side, especially in the tranquil, hip hop-induced "The Playboy Mansion." Here, the singer picks apart our society with references to O.J. Simpson, plastic surgery, casinos and lottery tickets.
But Pop falls short of perfection, courtesy of routine efforts such as "Staring At The Sun,'' which could have been included on Zooropa but probably should never have been recorded in the first place.
Musically, U2 has always tried to stay ahead of the pack, and while Pop is not necessarily a trailblazer, the group has once again left the mainstream far behind. U2 can do it, the band has proven its staying power. Remember, it's still U2. And, despite the album's name, it's still rock and roll.
TYSON WHEATLEY |