U2 - All That You Can’t Leave Behind [2000]

October 20th, 2012 — Tim Honey
2000, Album Review, All That You Can’t Leave Behind, Ireland, Music and U2

By the year 2000, it seemed that U2 had already done everything they could have. They had managed to bridge the gap (or cross the line…) between being innovative and successful numerous times, and each time you’d think that they just couldn’t really do it again. Every time they released an album they would surprise us with the unexpected. After a 24 year existence and the release of nine albums during this time, it would not be surprising if there was just nothing left for the band to offer.

This possibility was almost true. On the surface U2’s 2000 release All That You Can’t Leave Behind doesn’t really break much new ground and there seems to be no real innovation.

But there is something going on here. For the first time the band revisit their roots. The raw rock and roll energy of early albums like Boy comes to mind. Fortunately it’s no re-hash. The triumphant ‘Beautiful Day’ is a perfect opening track and comfortably reintroduces us to U2’s straight forward rock and roll origins. ‘Evaluation’ is another pumped up celebration and displays the post-modern fusion of the resurgence of the old-school rock and roll sound with all the hi-tech stuff that has been learned in the interim.

There is also a more personal angle on subject matter [‘When I Look At The World’, ‘Peace On Earth’, ‘Stuck In A Moment You Can’t Get Out Of’ and ‘New York’]. Songs have more to do with matters and less with issues. Although U2 have always dealt with issues that were close to them, there was always a universal, and often a non-personal approach. One with which there was always a bit of distance between the speaker and the issue. Face it – if you wanted to save the world on a personal and intimate level, you would not get very far. I suspect you’d realize that your own life was so insignificant that you’d probably give all your cool stuff away and go and live in a cave. What use would you be to the world-saving community then? Huh?

There’s a subtle cynicism in some of the lyrics [‘Peace On Earth’]. It’s a kind of realization that despite all the good intentions and all the hard work done (particularly by Bono) to deal effectively with real humanitarian issues – there is often much more involved to political decision-making than purported good will and perceived integrity. With All That You Can’t Leave Behind you feel that the fight is not over, but let’s just stay at home for a couple of days…

To add to the new immediacy, Bono’s voice has become slightly raspy. At first it feels a little awkward, but once you’re over it - it adds a new sense of vulnerability that is quite welcome. Especially after being almost untouchably clean for almost 20 years.

Despite not being my all-time favourite U2 album, it is still a good album and contains some of my favourite U2 songs.

It’s worth a fully packed picnic basket and a day spent in Tokai Forest.

U2 - All That You Can't Leave Behind [2000]
U2 - All That You Can't Leave Behind [2000]
U2
U2

Ungdomskulen - Cry Baby [2007]

October 1st, 2012 — Tim Honey
2007, Album Review, Cry-Baby, Norway and Ungdomskulen

Norway has produced some fine things over the years. Things like snow. And Vikings. Musically speaking, the ECM label introduced us to some Norwegian jazz musicians: Jan Garbarek. Terje Rypdal. Misfortune introduced us to some people who were probably blinded by the snow; and therefore thought they were Vikings. These people formed groups and also made music. Borknager, Enslaved, Dimmu Borgir. In fact – much of the better known Black- and Death Metal bands are from Norway. Much of it purports to be evil and Satanic. The use of cheesy keyboards is prevalent. I know for a fact that most is it is rubbish.

So when you think of Norway and music – usually you’d think of Jazz and sometimes of Death Metal, but when you hear of a band called Ungdomskulen who play neither of the above-mentioned forms of music – you know you’ve probably come across something quite different. So wot’s…uh the deal?

In 2007, the Norwegian band Ungdomskulen released an album called Cry-Baby. I don’t think I’ve ever heard music that is this difficult to describe. It is not Jazz. And it certainly is not Death- or Black Metal. The encyclopedias call it Progressive. They usually say that when they don’t know how to classify music. Picture (maybe) Pixies – the band – playing versions of Tool songs while trying to sound the Springbok Nude Girls. Backwards. With ear-pugs. In a daisy field. After listening to Frank Zappa’s Playground Psychotics non-stop for five days.

Yes. It has many angles. Unfortunately the initial impression – that you’d get if you hear it coming from behind a bedroom door while washing (someone else’s) dirty dishes in the kitchen – is a messy noise. If you’re paying attention – to the point that you’ve forgotten about your dirty dishes in the kitchen – you’ll pick up that the music is precise, accurate and purposeful. Sometimes [‘Feels Like Home’, ‘My Beautiful Blue Eyes’] it’s almost happy. Like Hippies, but ones that have direction and are schooled in their instruments and general musicianship. But Ungdomskulen’s music refuses to be characterized by any conventional method. As soon as you think you’ve found something to latch on to – the music will give you something else. Possibly something like… um, Viking Snow… Just different. (And not the tires.)

You may (at first) be put off by the noisy element of Cry-Baby, but give it the attention needed and it is definitely worth a bottle of Vodka and a big packet of slap chips.

Ungdomskulen - Cry Baby [2007]
Ungdomskulen - Cry Baby [2007]
Ungdomskulen
Ungdomskulen

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