U2

U2 confused much of their fan base with this dive into Continental experimental pop. Overall, it's not their best work but such tracks as the Bowie/Eno-esque "Lemon" and the beautiful "Stay (Faraway So Close!)" are as good as anything they've ever done.

Bosnia and Herzegovina. The resurgence of Nazism in Germany. Mafia terrorism in Italy.
Escalating unemployment throughout the former Western Bloc. Zooropa, indeed. None of
those issues is explicitly addressed on U2's startling new album, of course. But the chilling
emotional atmosphere of Zooropa – one of grim, determined fun, a fever-dream last waltz
on the deck of the Titanic – is well suited to contemporary times in the Old Wor... More >

I've never seen the point of hating U2. Their sound was their own from the git, and for a very famous person, Bono has always seemed thoughtful and good-hearted. I liked what I read about their pop irony, too. Problem was, I couldn't hear it--after many, many tries, Achtung Baby still sounded like a damnably diffuse U2 album to me, and I put it in the hall unable to describe a single song. But having processed this blatant cool move, I'm ready to wax theoretical. Achtung Baby was produced by Daniel Lanois, and Daniel Lanois isn't Brian Eno--he's Eno's pet romantic, too soft to undercut U2's grandiosity, although I admittedly enjoy a few of its anthems-in-disguise now. Zooropa, on the other hand, is half an Eno album the way Low and "Heroes" were. The difference is that Bowie and Eno were fresher in 1977 than Bono and Eno are today. Each must have hoped that the other's strength would patch over his own weakness--that Eno's oft-wearisome affectlessness would be mitigated by Bono's oft-wearisome expressionism and vice versa. But tics ain't strengths, and although these pomo paradoxes have their moments, when I'm feeling snippy the whole project seems a disastrously affected pastiche of relinquished principle. (Grade - B-)