Indio

I agree with Scott... it's the best work of a mediocre pop-rock band, it deserves a solid 3. The review is sparse; you could have put in a little more effort. Moreover, I don't agree regarding the lyrics; they are much less demanding and depressing than the previous ones, but that's why I think Molko is at the peak of his mediocre lyricism here!

...you haven't understood a damn thing about the album... the press always writes the same old nonsense, but this album is the best since Zooropa. Pop?... it was crap, the beginning of a 10-year oblivion, during which the boys from Dublin, now "mature," no longer let Eno and Lanois get involved beyond production (since 2004, Lillywhite is back too), achieving pretty mediocre results! In this latest one, the holy hand of those who have accompanied them over the years returns... and you can feel it; I hadn't heard electronic parts like this since Zooropa, and there are both interludes and preludes, as well as mixed into the melodies of the same tracks. Bono scratches like he hasn't in a long time, and the band members are no less impressive, aside from 2 or 3 filler tracks that are still appreciable, the album is a good album. But what did you want from U2?... a return to past sounds doesn't mean recording with the tools from 25 years ago...

Disgusting reviews, disgusting album.
In response to the last comment, I agree with Onda Rock regarding the first work of Korn.
In response to the whole world of the internet, and it’s not the first time I do this, being a music enthusiast and also a musician, I buy and have bought everything, and I assure you that at least up to "Follow the Leader" in '98, their third work, no magazine like Rumore or Roccherilla talked about, labeled, or cataloged bands of this kind with the term "nu-metal," it didn’t even exist.
The term was born later, and the idea of putting Korn at the forefront of this fake genre came after they began to make real crap.
The same discourse cannot be made with "grunge" because the term was born almost simultaneously with the explosion of the Seattle generation. That’s it!

The review is only half right, especially when it comes to the ex Generation X audience, associating them with lounges and aperitifs; we listened to "too much" alternative rock, neglecting a lot of other music at the time that was indeed better than this porn pop. The other half, however, manages to address the "current Italian music scene," which is very sad, just as you say! The work in question is simply mediocre, with one small great commercial intuition, which is the theme that that bitch Ventura loves so much!

It was the first CD I bought from U2 back in '92, 11 years after its release, and I’m very fond of it, but I give the work a three. You get the usual five—say it’s a wonder!

All true!.... great review, but you could have given more on the technical aspects of the album and in the context of '93, which is quite different from that of '90. I put the album on par with Violator but behind "Black Celebration."

the best of their discography

Alevox, I'm replying to you late anyway, I love many genres and many albums, I like Depeche, about ten years ago I listened to them all day long from morning to evening.

Neu2 says:
an album of embarrassing banality!
What can I say ... it's incompetent!!!!!

"The Wall has just fallen. Its barriers have crumbled, and the civilization and culture of consumption are finally rising. U2 knows this. They sense it, immersed in the stupor of a cold Berlin that is beginning to awaken from half a century of division, and to project itself, finally united, towards the new millennium. There is much euphoria in Europe; words are wasted on the dismantling of political and economic borders. Too much euphoria. In the old continent, beneath the rubble of the Wall, that sense of restlessness and fear that has always characterized it still smolders. U2 knows this too. They know it and transfigure it in "Achtung Baby," turning it into a sort of grand mosaic of feelings and the condition of man in the modern, metropolitan world. The barriers are down, but where do we go now? Some try to find a solution with cutting truths ("The Fly"). Some take the opportunity to distribute luminous illusions for the future ("Zoo Station"), but one soon realizes that reality is different. Men betray each other ("Until the End of the World"), discovering the two sides of love. A love that, if it first leads ("Ultraviolet"), then proves to be blind ("Love is Blindness"). But it is a man who also discovers hope and celebrates his unity while recognizing himself in his diversities ("One"). Bravo, bravo, bravo, this is also a way of reviewing, a complete and homogeneous way, because music is not alone and an end in itself; it is above all the consequence of emotions, joys, fears, situations, realities, eras. For me, this album is the best, without taking anything away from the first two works with Eno and War, but I could see myself in that era of '91. Throughout their discography, they have never sounded like this; the sound is different, sought after, liquid, enveloping, jagged, both old and new at the same time, aging much better than its predecessor. To the face of all these "professors" who know how to write, what to write, taking everything for granted without realizing it, well done!"