I doubt it is an easy existence as the world’s most popular rock ‘n’ roll band. The mantle is a heavy one filled with hype, expectation and high stakes.
U2 appears eager to at least temporarily shed the expectation, much as Bruce Springsteen did with the release of 1987’s Tunnel of Love. Releasing something different gave Springsteen a little breathing space. 1 have a hunch U2 could use a little space too.
Achtung Baby is permeated with a garagey, industrial dance sound that conjures up Jesus Jones and other young British heavyweights. The emphasis is on a more danceable edge but in a grungy, likeable way.
For the most part, the anthemic, achingly beautiful sound that filled The Joshua Tree is gone. There are no songs like “Red Hill Mining Town” or “With or Without You” or “Where the Streets Have No Name” that convey a sense of unfulfilled longing.
Achtung Baby just isn’t as moody.
The biggest change can he found in U2’s solid rhythm section of drummer Larry Mullen and bass player Adam Clayton. The pair contribute more of a funk-based feel in comparison with the fairly conventional rock beat they have used on albums in the past.
As most fans of the band know, The Edge has also been a consistent lead guitarist with his chugging, ominous licks. That style also changes. He sounds more rounded where he once appeared jagged.
It isn’t necessarily a bad thing. It’s just different.
The one thing that never changes is Bono. His voice is alternately angry and sad, demanding and pleading. But some U2 fans will be shocked to hear the Love and Rockets-style synthesis of Bono’s voice on the album opener “Zoo Station.”
The highlight of the 55-minute album is the stadium rocker “Who’s Gonna Ride Your Wild Horses” that brings forth the soaring exuberance of the band at their best. The band delivers a terrific effort on the elegant “So Cruel,” while “One” and the first single “The Fly” are also listenable.
U2 sometimes leaves me wanting more. On the understated “Until the End of the World” and also “Acrobat,” the band seems to be surging towards something, only to abandon the effort.
“Mysterious Ways” sounds like a raunchy Fine Young Cannibals, while “Ultraviolet” serves as little else than a vehicle for the oft-repeated chorus.
Overall, U2 has crafted a good album but not a great one. The sound harkens back to earlier in their career but with that funk edge that brings it into the ’90s.
If you’re a U2 fan because of The Joshua Tree, you might be well advised to save your money at least until you hear a bit of this one. But U2 has shown courage in avoiding its own formula.
Rating: B
© The Brandon Sun, 1991.