U2
All That You Can't Leave Behind

THE REVIEW

The return to the origins. When I heard it said by the press, I was there fearing it. It wasn't acceptable, it wasn't possible. U2 couldn't have given up on changing and trying new sounds and colors. Well, that said, on October 31, 2000, I went to my trusted dealer and picked up the new album. Black and white, and bare cover.

BEAUTIFUL DAY begins. I knew it very well, and I must say, I didn't mind it. Rhythm with triplets in the quartets, good bass work, and good guitar. The U2 sound was there, it felt a bit familiar, but it worked. STUCK IN A MOMENT AND YOU CAN'T GET OUT OF IT, on the other hand, moves on the classic U2 coordinates: ballad rhythm, background choruses by Edge, Bono low and sweet, delicate bass & drums work. It flows smoothly without particular highlights. ELEVATION. I just couldn't get into this song (and I still can't). When I found out my classmates liked it too, well, I couldn't stand it anymore. Edge's distorted guitar, Bono is good too, but the song doesn't thrill me, on the contrary, over time it bores me (despite the great bass and drum work). WALK ON, however, stands out pleasantly on the album for its good lyrics (dedicated to Aung Sunn Ki) and for the engaging and well-crafted music (excellent Edge). KITE is the best episode of the record: a touching ballad written by Bono about the father-son relationship, where we find a very inspired Edge and a Bono who screams (you can tell his voice is declining, but it's normal) in a very passionate and engaging way.
The second part reopens with IN A LITTLE WHILE, a very soulful song beautifully sung by Bono, who is crucial in this piece as the music stays almost in the background to accompany the singer. But just when it seems the album is about to take off, WILD HONEY arrives. A little song that doesn't go anywhere, forgettable. U2 can't pull these tricks on me. PEACE ON EARTH is a good song (nice text), but it doesn't tell me much, despite the ever-brilliant Edge. The theme of the father-son relationship returns in WHEN I LOOK AT THE WORLD, a song I appreciate but struggles to take off, much like the dark NEW YORK (dedicated by Bono to the city of NY), which only expresses all its power live. GRACE closes the album with a very relaxing and quite fitting melody (great Bono).

That's enough. The CD stops, and it makes me think: well, where have they gone? What did they want to say this time? The problem with this record is that it has nothing new. It feels too worn. And even when I thought I liked it, after a while, it bored me. Sure, it sold a lot. But I care little about that. Then the production didn't convince me; the final work wouldn't make you think of such important names (Brian Eno first + Daniel Lanois).
In short, this time, guys, you didn't hit the mark. But I forgive you (because How To Dismantle An Atomic Bomb, even moving on these coordinates, is better). Bland album, however.