Wookiee's Absurdly Long and Overdue Songs of Experience Review

SONGS OF EXPERIENCE: WOOKIEE'S FIRST IMPRESSIONS

I've been sitting on this behemoth for a while now, and I finally got around to finishing it up after a bit of procrastination. Get ready for some pretentious writing with a dose of cynicism!

It's December 1st December 2nd December 17th, and U2's long-awaited companion to 2014's poorly-received Songs of Innocence has finally arrived. With it come heightened expectations as the band rides a tide of momentum brought forth by the all-around solid second half of that record. I'm personally hoping for a nice bunch of three or four memorable tracks.

I will admit that in the weeks leading up to this album's release, feelings of doubt regarding Songs of Experience's future lingered in the back of my mind, despite its release date being firmly etched in stone for some time. That uncertainty can be attributed to a number of postponements dating as far back as early 2015, making my qualm understandable. I guess you could call Songs Of Experience U2's most flirtatious and teasing release in that respect.

Alas, the record is truly here after a tumultuous "offseason", and with it we can freely sing our praises or vehemently express our disapproval. Each of the four singles that we were exposed to prior to December 1st left me feeling pessimistic, but let's be honest... U2 hasn't exactly done a bang-up job of identifying its greatest material in recent memory. Hope still remains!

1. Love Is All We Have Left

Songs of Experience first greets you with a simple ambient number, which is a welcome change from the traditional "rawk" anthem that has introduced each of the past three U2 LPs (a phenomenon that I affectionately call "Elevationism"). Instead, the band trades in their soaring guitar riffs and catchy hooks for synthesizers, leading to some very pleasing results.

Bono's writing is straightforward, and inoffensive at best, but is conveyed genuinely. He relays a serviceable vocal performance that compliments the instrumental well. Accompanying his singing is a vocoder, providing a subtle but beautiful embellishment to the soundscape.

Drummers are at their best when serving the song. Following this adage, Larry is absent from this recording. And no, that is not a dig at his musicianship... so please refrain me bombarding with your assertions that Larry is a talented drummer! The lack of percussion on Love Is All We Have Left is surprising of modern-day U2, but very much to this song's benefit. The most technically proficient drum-pattern in the world would only undermine this song's poignance.

Similarly, Adam serves a limited role here by playing basic bass patterns.

Less is more. I am a firm believer that U2 is at its best when dishing out understated and minimalistic music. If that side of the group appeals to you, than Love Is All We Have Left is certainly up your alley. This track easily sits amongst U2's greatest songs of the century.

How quickly this album disintegrates after the band's most promising opener since Pop's Discotheque...

2. Lights Of Home

Lights Of Home counteracts the introductory track by giving off a more anthemic vibe akin to The Miracle (of Joey Ramone). Just like The Miracle, Lights Of Home is very overcooked. The verses feature harmonies between Bono and Edge on the recurring "I can see the lights in front of me" that provide sustenance to that opinion. U2's tendency to overcomplicate pop music definitely shines through here.

Edge layers both acoustic and electric guitar parts together in an attempt to attain an almost folksy sound. This foundation feels completely useless though, as it awkwardly cuts to a Coldplay-esque chorus regardless, complete with some hastily included keys. The "hey-ing" only adds to the amateurism.

Edge's contemporary-sounding guitar solo is reminiscent of that slide-y guitar part on Kite (excuse my technicality). While I appreciate its simplicity, the solo feels unnecessary and doesn't add much to the song for me. Given a new musical context, it could be enjoyable.

I will concede that the climactic conclusion to Lights Of Home is very catchy, and one of the greatest bits of pop writing from the band in years. That melody is downright infectious, and I find my mind returning to it often. A well done job on that front. While it's not for me, I can appreciate the decent songwriting.

3. You're The Best Thing About Me

This is the first of several tracks on Songs of Experience to have been previously released as a single. Although my thoughts on this song are already well-documented, it could possibly be interpreted differently within the context of the album and is therefore still worthy of review.

Here, the album takes another drastic turn with You're The Best Thing About Me: an unfathomably saccharine pop tune that clearly takes inspiration from Ryan Tedder. It's as if U2 took an All That You Can't Leave Behind reject and updated it with a candied sheen. This demo-like impression is validated by a poorly structured song.

The band wastes no time in setting this one up, and delivers a concise product. You'd think that this was a radio-edit, going off of its brevity and clumsy transitions!

Bono drops some repugnant lyrical deuces whilst Edge plays some lifeless, mellowed-out chords. When the rhythm section does reveal itself, we are met with predictable simplicity. Essentially, what is being played is merely a live version of EDM tropes. There's nothing remarkable or striking about it.

This plodding verse inevitably gives way to an equally pathetic chorus. Firstly, I want to mention how annoying the introductory cymbal crash is. In relation to the surrounding instrumentation, the crash is mixed at an absurdly loud level. It's such a simple thing to correct, too, but was somehow overseen despite the plethora of producers that partook in the creation of this God-forsaken album.

Poor production choices aside, Bono returns to a yelp-y vocal inflection that is reminiscent of Yahweh... which is a comparison unfavorable enough to give you enough of an idea of my thoughts. This bland verse/chorus pairing then repeats itself before forcibly thrusting us into the bridge, which feels included purely out of necessity, and further adding to this song's discombobulation.

Edge haphazardly chunks in a worthless solo for the middle eight that's presumably meant to be danceable... but I don't really know, since I was too busy recoiling from my headphones to hear much of it.

All in all, this is nothing more than an amalgamation of every post-Pop U2 cliché. I hear elements of Beautiful Day, Despite this, it retains a unique sonic identity that at least offers a sense of vitality. Uniqueness doesn't always entail greatness, unfortunately for the band. Weak stuff.

4. Get Out Of Your Own Way

Tedder's influence unfortunately extends beyond just one track. Sonically, Get Out Of Your Own Way sounds like the red-headed stepchild of Invisible. A faux-ethereal backing tries to convince the listener to believe in a rejuvenated band that is sadly nonexistent. A clunky electronic drumbeat enters the frame, similar to Invisible, and brings with it some classic Bono moaning.

Adam chimes in with some one-note-wonder-playing to assist Bono and his silly nonchalant vocal melody. For whatever reason, his singing rubs me the wrong way for its "smoothness". The lyrical contents of this song don't help his case much either. Get Out Of Your Own Way showcases Bono's more self-absorbed side of writing that has plagued past songs such as the beloved I'll Go Crazy If I Don't Go Crazy Tonight. Basically, it's really not as clever as he assumes.

Then plays a comical post-chorus refrain with some overpowering Edge moaning.
There's lots of moaning featured in this song.

Anyway, speaking of Edge... where is he? I'd offer no objection if you told me that U2 hired some random session musician to take his spot on this song. There's no memorable guitar riff, solo, hook, or whatever else present.

Nothing of interest really occurs for some time following the redundant verses and choruses, at least not until the end. For the first time (to my knowledge), the band has enlisted the assistance of a hip-hop artist to complete a track. This seems like a weird pairing, but I am a major proponent for the broadening of U2's horizons, so long as it is genuine experimentation. I'm not nearly as daft to take issue with U2 collaborating with Kendrick Lamar "because he's a rapper", because I actually view him as an immensely talented artist. The issue is that is inclusion doesn't serve any more purpose than being a transitional piece. Because of that, Kendrick's role is tainted for inadvertently seeming to be a pandering move from the group.

Perhaps my differing political views hinder my enjoyment of this song. After all, U2's message is conveyed so unequivocally... which actually perfectly explains my problem with it! U2, despite always being politically motivated, has never been so overtly polarizing when championing its world views. Get Out Of Your Own Way is near-deafening with its clear feelings of dissatisfaction towards the Trump administration. The band won't be met with much fan opposition to music like this... which is understandable, given that U2's listener-base is primarily liberal.

Actually, nevermind... it's just bad.

5. American Soul

U2's intentions are made very clear with American Soul. As Kendrick's part fades out, a cheering audience reveals itself as Larry pounds on his kick drum. Rather than setting up Edge for a badass and unrestrained guitar piece, out pops a neutered and formulaic remnant of a riff. American Soul is nothing more than another sufferer of Elevationism tinged with a bit of political platitude.

The crowd noises going off in the background clumsily break away to make room for Bono's vocals. His lyrics should sound familiar to you, side they are the same ones that Bono lent to Kendrick Lamar back in April. U2's collaboration with Kendrick on the song "XXX" was jazzy, understated, and musically interesting. Unfortunately for American Soul, the lyric's reutilization is unfitting. Why is Bono singing about Drum & Bass on such an overtly rawk song?

I take issue with U2's recycling of the "You are rock'n'roll" hook from Volcano. The impression that I garner from this is that the band had no idea how to connect Songs of Experience with a three year-old record and settled with the easy route. Besides, it sounds no less clunky now than it did then.

Oh, and of course I can't leave the elephant in the room ignored.

I want to know exactly what the hell Bono was thinking when he thought up that ridiculous "Refujesus" lyric. Ever since the turn of the century, Bono has written some of the most bizarre lyrics that I have ever had the displeasure of hearing. First it was moles, then it was incorrect Spanish counting, then cockatoos, and now a fictitious combination of a refugee and Jesus. Seriously? I have no idea how this little figment of Bono's imagination made it past the cutting room floor, because at some point somebody has got to say: "Woah, Bono, you've gone a little too far here!" You'd think that U2, with all of their producers and consultants, would have some sort of quality control advisor.

Insultingly egregious. I exclusively streamed Songs of Experience, but I demand monetary compensation for enduring this stain on the band's discography.

6. Summer Of Love

Summer Of Love is to Songs Of Experience as A Man and a Woman is to How to Dismantle an Atomic Bomb: a phoned-in, dull, and uninspired adult contemporary piece that adds nothing to the record. Edge's twangy riff is catchy at first, but grows tiring by its conclusion... which is not a good look, considering that Summer Of Love isn't even three and a half minutes long. When a listener becomes increasingly agitated as a song drags on, you know that speaks volumes about its disposability.

Much like You're The Best Thing About Me, Summer Of Love suffers from a formulaic construction. That twangy riff loops a couple of time to introduce the tune, then abruptly cuts off for some muted acoustic chords and lackluster percussion. Bono sings a forgettable and monotonous melody, worsened by these dodgy words:

The winter
Doesn't want you
It haunts you
Summer serenadings
A long way
From this frozen place
Your face
Our teacher
Our preacher
It's nature
And like flowers growing in a bomb crater
From nothing
A rose
It grows

The cliché "flowers growing in a bomb crater" imagery really ices the cake.

The following passage is no improvement, only acting as a simple continuation of the preceding verse and marking the resurgence of Edge's riff. Eventually, an unnecessary bridge tacks itself onto the track (a commonality for this record). This bridge features an even chime-ier guitar part to further Sommer Of Love's vapid adult-contemporary feel.

It is here where U2's compositional issues become more apparent. By this point in the tracklist, half of the numbers have been worsened by lackluster song structure. This is not an encouraging look.

7. Red Flag Day

I've struggled to put my thoughts into words about Red Flag Day since its release. While some of the easier targets on Songs of Experience are simple to critique (and those are ubiquitous, believe me), this one has left me scratching my head. It isn't a pathetic effort, but certainly not a good one.

Larry is noticeably reinvigorated, and is joined by some spot-on bass-work from Adam. I'd prefer for their parts to be raised in the mix, but they combine to form a great rhythm section nonetheless.

U2 have brought out the session guitarist once more, this time with a boring wakka-ish chord progression that feels so out of place on Songs of Experience. This is an odd one-off track much like an adopted child for its clear non-relation.

8. The Showman (Little More Better)

Honestly, I can't really hate this song. The Showman (Little More Better) is admittingly terrible, but it would feel almost inhumane to rag on such an innocent thing. U2 has not released such an unapologetically silly tune since Elvis Ate America from Original Soundtracks I. For that alone, I can respect it far more than a wriggling mess of desperation like Get Out Of Your Own Way or Summer Of Love. Still, that doesn't lessen The Showman's susceptibility to criticism.

Lyrically, The Showman is fairly clever, but Bono overestimates himself and resultantly gives off an annoying sense of self-appreciation. Instrumentally, this is a a very bare-bones song with little to offer. Clearly, the band wanted to emphasize Bono's lyricism (to its detriment).

While it's not the most despicable song on this record, The Showman is still no good. Its subpar verses cannot make up for the failures of the dreadful choruses. Regardless of its innocuousness, this song lies comfortably near the bottom of my song ranking of this album.

There's nothing wrong with U2 periodically releasing a little showtune here and there, but please... not on an album. Party Girl is a good "fun" song, as is Big Girls Are Best. Did U2 feel the compulsion to put those on record? Not then. Maybe this is a case of the bank running a little dry...

9. The Little Things That Give You Away

I was very intrigued to hear how this one would translate to Songs Of Experience after hearing several unimpressive live renditions. I could see its potential then, and was really hoping for a solid tune.

The Little Things That Give You Away opens with some interesting ambient undertones and is accompanied by a simplistic electronic drum kit, which feels forced and unnecessary.  Edge's playing feeds into this pretentious atmosphere by sticking to the same old "sitting on chords" method that has plagued the band for years (the live arrangement of Every Breaking Wave is another prime example of this).

This song flirts with melodrama for a short while before giving way to the temptation with its chorus. During the first half, none of Bono's lyricism is very gripping to me, but thankfully his writing picks up for the remainder of the track:

Sometimes I can't believe my existence
See myself from a distance
I can’t get back inside

Sometimes the air is so anxious
All my thoughts are so reckless
And all of my innocence has died

Sometimes I wake at four in the morning
When all the darkness is swarming
And it covers me in fear

The instrumentation coinciding with this part is decent, but again gives into that overdramatic side of U2. A more downplayed backing could drastically change my opinion on Little Things and convey a genuinely heart-wrenching feeling to the listener.

Overall, I'd consider this to be one of the best efforts on Songs Of Experience. While it isn't superb by any means, The Little Things That Give You Away is at least tolerable when compared to some of the more vapid efforts present on the tracklist.

10. Landlady

Landlady is easily, without a doubt, one of U2's worst songs ever. The lyrics are below-average and are conveyed in a grating way thanks to an especially irritating vocal melody. Landlady, much like The Showman, is most concerned with its lyricism than instrumentation. The synth pads that accompany Bono's vocals are only there to compensate for Edge's lackadaisical performance.

The concluding verse of Landlady is melodically similar to a something I'd expect to hear from a late-2000s Christian band... which seems like a far-fetched comparison, but scarily accurate when you think about it.

And yeah, that's about it. What an uninteresting piece of music.

11. The Blackout

Hearkening back to Even Better Than the Real Thing's hypnotic introduction, The Blackout opens up with a flurry of cool guitar sounds that compile to form an interesting sonic landscape for the song to take shape. Sadly, what it sets up for is drab and unexciting. While the bassline sounds phenomenal, it's overshadowed by Larry's monotonous four-on-the-floor pattern. A less intrusive performance, or a more creative one, would be beneficial on this one.

Regardless of that... Adam simply dominates this song. No matter how pandering U2 becomes, I can count on this man to deliver! While the rest of the group falters, he continues to push the envelope and adopt new styles of play. Here he incorporates a simultaneously funky and edgy bassline into a boring rawk crapshoot. Well done on his part.

Exactly like on American Soul, Larry sticks to a basic, uninspired drumbeat during the verses. Unfortunately, I cannot even comment on his performance during the choruses because the awful production renders his playing unintelligible in the shit-slurry of guitars and overemphasized vocals.

Lyrically, this song is unimpressive. Bono has forever struggled with being an intrusive performer, and The Blackout is certainly no stranger to this commonality. Here, he includes some awkwardly strung-in names to the end of each line, restricting this song's flow:

Earthquake, always happen when you're in bed, Fred
The house shakes, maybe was it something I said, Ned

What is the purpose of these inclusions? It seems so counterintuitive to pointlessly throw words into a song of this nature.

I would be excited to hear a primordial incarnation of The Blackout. Perhaps it was initially envisioned to be a hard-hitting rocker à la The Fly, but all that I see is a dad rawker à la Vertigo. The version presented to us shows flashes of brilliance, but lacks a punch.

12. Love Is Bigger Than Anything In Its Way

This song is introduced with an absolutely obnoxious synth lead... which pairs nicely with its obnoxiously long title. Love Is Bigger Than Anything In Its Way... inhale... is easily the most unmemorable of Songs of Experience's 13 songs.

That chorus? Amazing! Bono miraculously manages to sign all 33 words of this song's title in one breath without collapsing! If that isn't a sign of divine intervention in the studio, then I don't know what is...

But seriously, I cannot move on from that gross synth lead. What the hell is that noise supposed to be? It's a stuttered mess, and so inapplicable too. Whatever you want to call that disgusting thing, it is undeniably harmful to the coinciding instrumentation. Adam, Larry, and Edge all combine for their worst performances on Songs of Experience here. I'm at a loss for describing any redeeming characteristics of this effort.

13. 13 (There Is A Light)

For the eleventh time in the U2 canon, the band closes an album on a somber note. Following in those songs' footsteps, 13 (There Is A Light) brings a satisfying conclusion to Songs of Experience.

13 is introduced with a dark, brooding synth pad. Some additional synth elements subtly build on top of this. This lo-fi setting is much appreciated for its deviation from the typical sonic makeup of much of the record.

The dissonant strings playing during the Song For Someone reprisal sound beautiful, and would be well-situated on a Hans Zimmer soundtrack. Additionally, the reutilized lyrics are more fitting here than on the song that they are derived from. Some pleasant keys play at this time, but are hardly audible.

Larry provides another tasteful performance, adding a subtle, muffled rhythm. Adam follows suit with some very basic root-note playing. Although this is a lyric-centric composition, I feel like the musical landscape permitted for him to bring more to table.

All in all, 13 is a solid track, and one that I can easily see growing on me with time. It possesses all of the elements that make U2 great. Songs of Experience is bookended with a pair of brilliant and invigorating tracks that hopefully bring us some insight regarding the band's future output.

Final Thoughts and Rating:

Bear with my overdramatizing, but I feel gravely disappointed after listening to this album. Love Is All We Have Left is incredibly deceptive in that it is not at all indicative of U2's musical direction on this effort. Don't misunderstand me, I do not feel entitled to receive a U2 album specifically curated for myself to reciprocate my limited years of patronage; it's just disheartening to see this pitiful result from a group so obviously capable of tremendous things.

Rather than assign track-by-track ratings, I have decided to spare this putrid LP the embarrassment and move on, as we are talking about a noticeable dip in quality from even Songs of Innocence, which at least boasted multiple respectable tunes.

On a more positive note, I can at least appreciate that is is a clearly focused and concentrated tracklist. Rather than being presented with a hodgepodge of loosely-connected songs like its two predecessors, Songs of Experience is a collection of thematically and musically similar compositions. The same can be said for its production, which is surprisingly consistent considering that nine different producers were involved in this album's creation.

This review is running long now, so I'll cut it off with that. Props to you if you actually wasted your time reading this whole thing!

Final Rating: 3.5/10

I'm probably going to be in the minority here but ... I thought that was a broadly accurate review ... ie the one I most agree with.
For me there are two good songs ... Love is all we have left and Little things. After the first few plays I thought they were excellent. Now I think they are good.

Frustratingly I find myself humming some of the catchy bits from other songs that I don't like ... like the annoying chorus from a Kylie tune that you can't get out of your head.

Happily, Love is all we have left has inspired me to look back into U2's more ambient stuff and I'm finding solace there.

The album is already sliding back for me.

Wooks you have managed to out pretentious me 

An honest review, Wook. (yes, I read it all!). I'm sorry you don't "feel the love" for this album, and I know you're not alone.

I'm just glad that I'm a silly old woman who will always love ALMOST everything U2 puts out there!

Thanks for your review...you can still be my son anyway. ha

I disagree with your views on Little Things and 13, but the rest of your review is pretty much in line with my opinions. Very well written.

I admit I haven’t listened to the album since the very first days after the release, so much subpar that I find it. It’s sad, cause without all of the frills and the tinkering most of the songs had remarkable potential.

Fantastic well written unapologetic review.
While I don't agree with all of the tracks you hate, I admit my excitement for this album has waned a bit in the last week. Your 3.5 is (in my opinion) a very fair assessment (I'd actually go as far as giving it a solid 3).

Tell us how you really feel.

Great writing.  I found myself giggling throughout. 


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I think your comment about Landlady is absurd.

Whenever I listen to the start of TLTTGYA I always think of early 1990s Genesis.

I knew that people's early enthusiasm for a new U2 album would begin to wane after a short while.  And so it goes with SoE.

I stand by my *** rating and I give it 6/10 for a U2 album.

The album is already sliding back for me.

Wooks you have managed to out pretentious me 

An Tha you and I are going in opposite directions here.....

It gets better with every listen for me....other than the soft 3-5 patch....that keeps getting worse

Happily, Love is all we have left has inspired me to look back into U2's more ambient stuff and I'm finding solace there.

Funnily enough, it's been the same deal for me. I was on a U2 slide before this album came out and its release has inspired me to return to some old stuff.

The album is already sliding back for me.

Wooks you have managed to out pretentious me 

I didn't know it was possible! I held off on checking out your review before I was finished with this, but I gave it a read and quite enjoyed it. Have your opinions on Love Is All We Have Left changed at all? I thought you'd really go for that one when I'd heard it.

I think your comment about Landlady is absurd.
.

Which one? The one where I say that it's one of U2's worst ever or the Christian rock ballad finale? 

Worst ever.

Worst ever.

Maybe it is a little extreme. I just tire of that one so quickly. We'll see how that thought pans out in a few months.

You're The Best Thing About Me and Get Out Your Own Way are far worse, for what that's worth!

Reasonable minds can disagree.  I have listened to this album probably 25 times through and still really like it. I wasn’t expecting a masterpiece - and SOE certainly is no masterpiece.  But it sounds like a really solid pop rock album to me and it stacks up well with what other rock bands are churning out these days. There are no skips for me on this album.

It doesn’t beat the masterpiece albums (TUF, TJT, AB)  but it’s probably the best album since AB IMO.

Aviastar im with you - I think it stands up well to repeated listens.


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