This week, I’ve been listening to U2’s album “Achtung Baby” from 1991. I grew up loving their album “The Joshua Tree” that came out when I was 10 years old. When “Achtung Baby” appeared during my freshman year of high school, it didn’t catch my attention. I did like the second single “Mysterious Ways” with its strong guitar riff and trippy music video, though. My tastes were heading towards more moody and less mainstream interests than U2. It’s a shame, because this is a very good album. Maybe I just wasn’t ready yet.
On this album, I hear a band with established techniques and skills fighting against repeating themselves. There’s a good bit of experimentation with sound and techniques, as if they are determined to not make another “Joshua Tree.” The Edge’s use of delay, while prominent all over that previous album, is more subtle and much less frequent. The drums have taken on a more dance feel; Upcoming artists like Jesus Jones, The Escape Club, and EMF already leading this trend. Many predicted this combination of break-beat rhythms with guitar rock would become the 90s alt-rock sound, until Nirvana’s “Smells Like Teen Spirit” flooded the airwaves.
The opener “Zoo Station” start with 3 seconds of quiet background noise and then odd bursts of distorted guitar. This is the announcement that the listener is in for a different U2 album. The bass and drums groove along with a determined driving beat. A tinny snare drum cracks every 2nd the 4th beat, sounding a little trashy. A minimal chord progression contributes to the pending sense of urgency, mostly staying in the tonic with use of the flattened VII and IV to push it forward. “Zoo Station” feels as much like a journey into the album as a destination of its own. The lyrics, which read more a statement of intent, support this:
I’m ready for the gridlock
To take it to the street
I’m ready for the shuffle
Ready for the deal
Ready to let go of the steering wheel
Ready for the crush.
The seventh track, and first single, “The Fly” escaped my notice until this week. While not experimental music, this seems to be one of the more experimental tracks on the album. It has the benefit of feeling more uncharted territory for the band, and therefore has a looser, even sloppy, feel. That’s even with the steady dance beat. My son aptly pointed out the resemblance to one of my favorite bands, INXS. It especially reminds me of “Communication,” which INXS started recording just after “Achtung Baby” was released.
The drums continue a dance-beat throughout almost like clockwork, along with the pulsing driving bassline. They keep the song song grounded while the rest seems to scatter here. The guitar starts with a repetitive riff until Bono begins his chorused and heavily-compressed softly spoken vocals. The echoey, slightly flanged, distorted guitar pulls back and then punches back with seemingly random stabs, scrapes, scratches and slides. The lyrics are a bit of a paranoid cautionary ramble. More like a nightmarish stream-of-consciousness with an apparent illusion of meaning, tangents off the chorus’s couplet: “A fly on the wall, it’s not secret at all.”
It’s no secret that the stars are falling from the sky
It’s no secret that our world is in darkness tonight
They say the sun is sometimes eclipsed by the moon
You know I don’t see you when she walks in the room
It’s no secret that a friend is someone who lets you help
It’s no secret that a liar won’t believe anyone else
They say a secret is something you tell one other person
So I’m telling you, child
Just after high school, I was in an emotional relationship; a strong mix of love and hurt between two people who had both to give, certainly some type of codependency. In U2’s song “One” I found a sort-of comfort in hearing words from another that described so well what we had. When in the car with my next girlfriend, this song came on the radio and I mentioned that. She said it was also the song for one of her previous relationship.
What Bono has done with these lyrics is described a commonly set of emotions in a way that many can relate and apply to their own situation. The narrative details of the couple and the events in their lives are completely missing, the actual story is a vast ambiguous cloud waiting for the listener to fill it in. Even their genders are absent. Instead, he reserves his use of detail for the visual imagery for the emotions.
He also combines this with religious allusions, in the third verse, to describe how the other brings their own hurt and needs to the relationship. This verse is tied to the bridge, where the other talks of love as a temple. Despite their praise of the sanctity of love, their own hurt means that loving them is more of a sacrifice than a blessing.
Have you come here for forgiveness?
Have you come to raise the dead?
Have you come here to play Jesus
To the lepers in your head?
You say love is a temple, love a higher law
Love is a temple, love the higher law
You ask me to enter, but then you make me crawl
And I can’t be holding on to what you got
When all you got is hurt