U2 Edges Forwards With Its Own Brand of ‘New’
Billboard Magazine by Sam Sutherland (1983-07-09)
LOS ANGELES—War may be hell, but for Ireland’s U2 the re- sponse to “War,” their third Island album, has been justification for victory celebrations. By far their fastest selling release for the U.S., the set has broken into the top 20 on the album charts, spawned two strong singles and added palpable momentum to their current tour here, which has posted capacity turnouts in the largest venues they’ve yet to play in this country.
Such career benchmarks aren’t the only ironic elements for that recording, or for the four resolute musicians who comprise the band. Although frequently lumped in with the “new music” tag now in vogue, U2 resists not only that tag but most of the earmarks of that increasingly nebulous pigeonhole.
“That’s something we’ve always fought against,” insists guitarist The Edge by way of commentary on the post-punk typecasting. “Most of the `new music’ that’s being programmed here is very poppy, very disposable-apart from the instrumental style, there’s isn’t much of a change at all, really.” Although he gives high points to American radio stations for being “prepared to take more of a risk” than with the band’s previous albums, he remains adamant in distinguishing U2 itself from the new music camp.
“Something we’re at pains to point out is that `new music’ is a meaningless phrase,” he asserts. “Basically, what we play is U2 music. Apart from that, we don’t want to be part of any movement. Trends hell, but for Ireland’s U2 the re- sponse to “War,” their third Island album, has been justification for vic- tory celebrations. By far their fastest selling release for the U.S., the set has broken into the top 20 on the al- bum charts, spawned two strong sin- gles and added palpable momentum to their current tour here, which has posted capacity turnouts in the larg- est venues they’ve yet to play in this country. Such career benchmarks aren’t the only ironic elements for that recording, or for the four resolute musicians who comprise the band. Although frequently lumped in with the “new music” tag now in vogue, U2 resists not only that tag but most of the earmarks of that increasingly nebulous pigeonhole. “That’s something we’ve always fought against,” insists guitarist The Edge by way of commentary on the post punk typecasting. “Most of the `new music’ that’s being pro grammed here is very poppy, very disposable apart from the instru mental style, there’s isn’t much of a change at all, really.” Although he gives high points to American radio stations for being “prepared to take more of a risk” than with the band’s previous albums, he remains ada- mant in distinguishing U2 itself from the new music camp. “Something we’re at pains to point out is that `new music’ is a meaningless phrase,” he asserts. “Basically, what we play is U2 mu- sic. Apart from that, we don’t want to be part of any movement. Trends and fads tend to come and go quickly.”
That pronouncement dovetails with the group’s music, which continues in the guitar-driven, atmospheric vein of the earlier albums. Although the new album does augment U2’s lineup—which also includes lead vocalist Bono Vox, bassist Adam Clayton and drummer Larry Mullen—with an eclectic array of outside players, there are no outside nods to current fashion.
Contends The Edge, “I think, basically, America has woken up to U2. I don’t think we’ve changed the style, or our musical chemistry, at all. Maybe to an extent we were able to condense our style somewhat, as on `New Year’s Day..’ “
That song may provide one of the band’s few links to the new music boom, namely the substantial exposure given the single’s accompanying video clip on cable, pay and broadcast television. But the band’s serious- minded guitarist stresses the promo’s distance from most clips: filmed on location in a snow-covered forest, it depicts the band members crossing the frozen landscape, intercut with apocalyptic battle footage.
The Edge believes the clip’s prominence derived from that stark visual style, as well as from the song’s rumbling undercurrent of anti-war themes. And it’s on the is- sue of thematic content that he and his partners are now proving most voluble. “We’re actually very optimistic in our outlook, but we’ve tried to go beyond the boy /girl lyrics that are so prevalent in much new pop music.
“We still write from feeling, though. We don’t sit down and intellectualize our songs. If there’s any political weight to what we do, it’s because of our emotional commitment.” He shares the view that much popular culture is essentially “escapist” in response to a palpable element of apathy. “It’s not just an American problem,” he suggests. “It’s universal. I think people are genuinely too scared to look beyond their noses.”
Yet if he recognizes that hunger for insulation, the band’s guitarist also believes U2’s clout rests with its willingness to overstep that boundary. “There seems to be a very empathetic response to us from concert audiences—they respond to people singing about things they really care about, instead of participating in some sort of pop ritual where the music is secondary.”
If such lofty issues remain at the center of the band’s work (as well as its members’ conversations about it), there is a more lighthearted and obvious satisfaction at the career breakthrough now underway. The Edge claims, with some amazement, that despite Island’s distribution swing to Atlantic, prior to “War,” “most of the Warner Bros. people still worked the record and came to the show.”
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