Alevox

I read Christian V..yesterday and I was stunned.

I have been a die-hard fan of the DM, yet I basically trashed this album after just two listens; it wasn't even worth writing a review for how much of a sellout it was and irreparably "bad." However, after reading yours, I think I’ll give it another chance.

Pop is an album that navigates a delicate balance between the arrogance and genius of a band. It is a work where U2 completely exposes themselves to the trendiest currents of the time, partly succeeding and partly failing at the edge of the ridiculous in their attempt to exaggerate a culture that was already exaggerated in itself (the parties, the bunnies, the disco, the fast food...) in short, the most viscerally "pop", which, in the end, didn't even belong to them that much. As they admitted, "We wanted to party, but we arrived when the party was already over." The fact that they conclude the album with such a touching and intimately torn ballad as "Wake Up Dead Man" confirms this. In any case, it was the last album where U2 truly wanted, and perhaps could, demonstrate that they were still great, astonishing and, with the right proportions, scandalizing. But the seeds of "grandeur at all costs" that would soon RUIN them were already there.

It's a piece that lacks flavor. Ideas are missing, and have been for quite some time.

Extraordinary novel (which, as a term, isn't quite accurate...) after the first hundred pages I started to devour it and didn't stop. Chilling ending. Great review.

For its time, it was an excellent synth-pop record, far better than the next two, which were lost in Gore's quest for some winning formula that would only start to emerge well in 1984, with "Some Great Reward." Of course, "Violator" and its ilk are in a different league.

Premise, stunning album, well.
It’s not easy to talk about Unforgettable Fire, a work whose meaning seems almost hidden, rarefied among its dreamy atmospheres, but I believe you have hit the point: it talks about redemption. The lyrics, from beginning to end, ("She will die and live again" from ASOH to "Rain down on he" from MLK, not to mention "Bad") are a continuous interplay of death and rebirth, a cycle in which all the dramas and fears of life are embedded, which U2 identify and express at the peak of their 80s artistic maturity. However, they do not shy away from impressionistic, almost dreamlike digressions, where perhaps the album finds its greatest expressiveness. Unshackled from the burden of "hard" rock as in "WAr", and aided by the masterful hand of Eno and Lanois, the extraordinary sketches of "Promenade" and "Elvis Presley and America" are contemplations where one can literally immerse oneself and take a break from the album's epic rides.
Oh, and good job highlighting it, "Pride" has absolutely nothing to do with this album.

"5) 'Se A Cabo' The rhythm returns! An instrumental track, short but effective. If you’re listening to it right now, you’re definitely tapping one of your feet to the beat… I’m willing to bet on it!"
Hell yes!

Four, just for the length. Great review.
From the game, it was enough for me to try the demo to understand that it wasn't the best.

"The drug of the 21st century is disresponsibilization."