Digital Booklet - No Line on the Horizon Magazine

8/6/2019 Digital Booklet - No Line on the Horizon Magazine

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Breathe.



C a t herin e ASthe drumrner , how do you reconnec t with your c r af t a fter the tour

isover , orhow do you prepare for the nex1alburn?

Larry Hmmm . ._anexample ofhow I prepar e - wel l, l et me explain, Wecame

back from the tour at the end ofJanuary, inMarch myself and an engineer went

into the studio with just a kit of drums. I spent two or three weeks putting down

drum patterns and making loops of drum par ts that I had in myhead. This is

something I have done after the las t few tours inpreparation for the next album, it

gives Edge something to work off.

C While the ideas are s ti ll f resh inyour mind?

L Yeah, while the ideas are inmy mind. Also, this t ime around Brian and Danny

nO I only agreed to produce the record, they were also part of the songwriting

team, which was a whole new thing for us.

e So.just togo back a Ii tt le , is your prep time inthe studio akin toEdge's prep

time, where he spoke about getting back to Malibu and being on his own with the

music, do you have a similar relationship with tile music?

L Hrnmm.; drumming is, I think, quite dif ferent, being on your own with tile

music would not be the same forme as i t would be for Edge . Drumming is a

visceral, violent discipl ine and for those who are no! special ized in the field, like

me a ama street drummer , I have had a few lessons here and there), there is

nothing romantic about this relationship. It is pure violence and that is the way I

like 10 have it! (big smile). Now, that said, when you are working with the band,

occasionally you have to bring flowers.

e How do you make the transit ion f rom the studio 10 the stage?

L There isa dif ference alr ight, inthe studio you have exper imented, but you have

only lived with the songs for a while , When you gel toplay them live, you get to

learn the songs in a different way, all those nuances you didn't quite understand

while recording become clear. The challenge is to bring what we have recorded

into tile new arena and keep tile excitement,

e Do you get to a point inthe process when the f rustrations thatare inherent in

any collaborative project become overwhelming, and ifso how easy is it to let go

and relish the music at that moment?

L This isan interes ting thought as there are some things that don't change.

Everything around youcan be falling apart , but what shouldn't change isyour

desire todo great things and to make great music, I love toplay, I love tohear

great music. I love tofeel par tof something that isspecial. I want tobe par t of

something special , so you can't lose those things, you can't lose that passion for

creativity.

C So you pro tec t?L Yes,but toprotect those things can be a lit tle harder than you might imagine.

e Was it l iberating having Brian and Danny come on as par t of the writing team,

or was that scary? Would you say you were having a new kind ofconversation

on this album then?

L Both. You 've got to remember tilat Danny isa beautiful guitar player, and

Brian has got incredible sensibilities when itcomes to technology and machine.

WhatBrian does with machi nes issometh ing else ) One of the beauties is that on

tileone hand he isso incredibly cerebral, while the other s ide orhim isso fullof

soul__ I t's a contradiction in ways_He brings both these sides of his talent tothe

table, which isvery unusual.



Catherine Having an idea of how U2 approaches the making of the ir a lbums

over the years , 1was intrigued at the decis ion to r ecord thi s album in a new way.

Can you explain what motivated this change?

Bono Well , maybe I should s ta rt bysay ing tha r the last couple of a lbums have

been very, very person al; Iit ile operas . .. ope rettas, "AIIThat You Can't Lea VB

Behind" had themes of life, love, death. You know, essential things, soap operas,

you cou ld say, with an essen ti al e ss ence a t the heart o f each one. "How To

Dismant le All Atomic Bomb" was not supposed to be so personal , but wi th myfather's passi ng it became another very personal and intirnate set of stories.

Them's a k ind of st range c rush ing ofyour ego tha t happens a fter a dea th . All the

more cr ippl ing i f you have a b ig ego , which I have to imagine I have (laughs) I

Anyway, I suppose mortal ity i s p re ss ed upon you and you have no cho ice but to

either puff out your chest and put 011 a hard man's wal k . o r pray. So for me it was a

bit of both.

C Did you feel tha t c reat ing cha racters a s a veh ic le fo r stor ytel ling was going to

allow you some distance from yourself?

B Well , I ce rt ainly thought I needed toge t away fr om myse lf, s o I start ed to

explore working through these different characters. Oscar Wilde coined the I ine

" the mask reveals the man". Inchallenging the characters, by taking them on a

journey, I felt there may be a new way to reveal things, emotions, thoughts,

desires.

C What sort o f character s were you looking toexplore?

B Well , one of the cha racter s i s a t raf fi c cop fr om Par is. I can' t qui t e exp lain why

I chose him but I 've always loved French cops' mororbi kes .. I 've always thought

they were beautiful bikes.

C Do you cal l the se cha racters your muses? Have you al lowed these cha racter s to

invade you or have you invaded them?

B Now that 's a very good quest ion, who is invad ing who? Hmmm, Idon' t know,

but i f you want to ta lk abou t "Bei ngBorn", wel l, I'm not sure why i t' s cal led

"Being Born", but i t' s about thi s char ac te r who isgoing a b it AWOL. He takes a

road [rip, who jus t t akes off to r ed is cove r who he i s and tor cfind h is f irst love. In

my head, the traff ic cop is f rom Morocco, he iscer tainly Afr ican-French, he heads

down through France, through Spain towards Cadiz. He's heading for a lit tle place

near Cadiz, a lit tle sur f ng town called Tar ifa, At night, when the sun goes down,

you can see across the water to the hil ls ofAfrica. Afr ica and Europe are only eight

miles , thirteen kilometres, f rom each other . The real impor tant thing to know about

thi s song is the sense of speed and thi s k ind ofpr imeval d rive to get back to youressence ... The engines roar, blood curdling wail I Head firs: thenfool 1Then heal"!

set sail. Asyou know from our DNA's point o f v iew, Africa i swhere we a ll come

from, so I suppose I r elate insome st range way to th is feel ing ofAfrica ashome , I

really do, and I 'm not the only European that does. Especially somewhere like the

Maasia Mar a inKenya, which local l egend c la ims to be the Garden ofEden . I 've

been brought to tears by the sheer beauty and scale of the natural diversity of this

place. Sorry, I digress ..

C This character in "Being Born" feels l ike he has abandoned everything inorder

to reconnect with his f ir st love, driven by this sense of danger and memory.

B Most people miss the ir f irst love and i t i s just the way of i t. I haven 't lost mine ,

but thischaracter has , and at some point he panics about that and needs to return



Catherine Can we beg in our convers at ion with "Fez", can we talk about the

guitar sound?

Edge WeJl the original gui tar sound for tha t song was one I h i t on when I was in

Abbey Road Stud ios work ing wi th the band and Rick Rubin on "The Saint s Are

Coming". Somet imes, a combinat ion of sound and par t can g ive you a c lue toa

whole song arrangement. I thought it had potential and I played the idea for Danny

and got excited about it. He and Tony, his engineer, took the recording, put a drum

loop behind itand before long it became a pretty cool lit tle ins trumental piece. I t

was Danny who sa id tha t i tm ight make a good segue into"Be ing Born".

e The process sou nds very collaborarive.

E It i s, and we make progre ss by find ing consensus. A funny thing happened

when we were work ing on the fi rs t vers ion of "Fez". Bono had done a vocal

improvisation, which became the main melodic idea. As l l is tened to i t in the ca r

one day , 1could hea r ano ther vocal me lody inmy head. 1 recorded i tand told Bono

1had some th ing cool top lay h im. He told me hehad come up with an idea too . We

played them to each other and they were identical .

C Spooky .

E Yes, but a lso the songs tel l us wha t todo . When we get to the f inal a rrangement

italways has a sense of the inevitable about it.

e So onto "Being Born". When you a re ina s itua tion where you a re pre sent i ng

something musically to everybody, is that nerve wracking? Do YOLl get attached to

the pieces before YOLI present?E I can 't r ea lly ge t too a tt ached to anyth ing I off er upor the co llabora tive process

would be too difficult. r real ly have to k ind of s ee my song ideas asorphans. Just

l et them go, and see which ones survive . I can come upwi th some th ing I th ink i s

brill iant , but if i t doesn't get Bono, Adam 01' Larry excited, and unless they can add

to i t , then i t i s neve r going to goanywhere . Some times I have to le tgo ofwhat I

think ar e gems , gri t my tee th when some th ing I have spen t ages on i s tor n apa rt

and thr own in the dustbi n in f ront o fmy eyes . But you know the bes t ones a lways

survive, and ifyou are going to be too precious about your personal work, then

don 't be ina rock 'n' ro ll band. In think ing about "Be ing Born" though, we were

inFez work ing togethe r, and a fter a few inspi red days we found ours elves ina b it

o f a lul l, s o I thought I'd throw in thi s musical idea that I had been work ing on -

inspired by one of my favouri te new groups of the las! f ive years , The Secret

Machines. It was very much my attempt to re"engage with the music that I would

have been l is ten ing towhen U2were s ta rt ing o lit ,German influenced bands like

Magazine, Neul, Can, Joy Divis ion, Siouxsie and The Banshees, and Eno-

produced David Bowie. Maybe because i twas so a todds with where we were ,

everyone got very excited about it. Westar ted playing and literally, inan hour or

less, we recorded the basic version that made the record. What really made this

piece great was what Brian and Larry contr ibuted. The combination of their

rhythms is just brilliant.

C Is i thar d to r ema in focused?

EWell, it 's nO I down to one person. Everyone has a par ticular role in the process ,

and it's quire f nely tuned. Adam isthe wiId card. He's naturally unorthodox. Lar ry

keeps an eye on the fundamentals. I 'm the instigator of musical beginnings, and

Bono has thegrand vis ion.



Catherine B011<.)tar ted his interview by iiiI ing me inon the background

concept for the album. and descr ibing the nar rati ve that driyes each song.

then Edge followed on with the rnusical s ide of this s tory. I mentioned 10

Bono that l fell l ike each character was midway through their journey. No

one person was re so lved , each i son the ir way somewher e, one man was on

his way 10Cadiz, the o ther in h is hotel hav ing an unknown voice talk 10him

on the phone. There is this sense of endless possibili ties taking piace.

Adam I think that in B011<.l 'songwriring ,he does pick up his character f romthe night before, like in "Running to Stand Still", where the opening line is

So she woke up from where she was lying st il l. You ar e in the s to ry as soon

as i tbeg ins, I amSUre that pari o f thi s i s some th ing that he has p icked l ip f rom

scr iptwriting, where really your opening line has to be the hook, the image or

words tha t ma le peopl e want 10Iisren 10the res t of the song.

C Going back to "Magnif icent" , there is a transcendent quali ty that follows the

nar rative ineach of the snllgs. Do ymLaim to capture this transcendent feeling

in the music also?

A I think t hat it is what we look for in our music, we are much more interested in

f inding that transcendent thing than in, say, f inding just a good song. Wedon't

always hit i t, but by looking for itwe do abandon a cer tain kind of methodical

approach that, ina funny way, serves us well.

C I c an see how 'methodical' may not always work for U2.

A Wel l, what you end up with i s c raf t, and c ra ft i sn 't exci ting at the end of the

day , because i r i s not an idea . Wher eas what I l end to th ink i s tha t we pursue

ideas.

C Ok, let 's t alk abou t "Fez" B011< .)oves how i tgoes into "Being Born". He fe lt

this was the start of a whole journey. Edge felt that "Fez" just arr ived,

ilwas there; it' Was easy.

A Il 's funny. There a re l it tl e moments on the record wher e you goin to anothe r

dimension and you forget that you are in a sequence on a rock record. You realise

that you are making a transit ional piece and it get s you fr om one fr ame of mind or

mood into ano ther. That i swha t "Fez" i s f or me. It cr ea te s a tension , and that

tension is resolved when you go r n . ) 1 1 1 "Fez" i nro "Being Born" _So ilisalmost' as

if dur ing this transit ion a decis ion is being made, you are exper iencing the unease

and the questions at the same time. The background vocals are saying "What are

you? Who are you'!" There is uncer tai nty in that moment, great drama"

C So, in terms ofhow you would see the bas s p layer 's r ole and what you bring

into allYgiven situation, is your focus on where Edge is . going Orwhere Bono

is going? Obviously, you and Larry are a team in a cer tain way".

A In situations where iIi s one , two , th ree, go, a s it often i s a t the ear ly s tages of

the record, the bass depar tment has a few dif ferent jobs 10do. First and foremost, I

am t ry ing to support what i sgoing on so tha t things can f ly .Then when ther e a re

bits ofaudio real estate, where something needs to happen, those are my linlc

oppor tunities to pop things in on a creative level. That was very much true for

"Be ing Born" and "No Line on the Hor izon" There were moments, l ike Ona

bird's f ir st f light, where you don't want todrop the ball, you want to support

everY{) lleelse, for example as Larry is setrl ing on a drum par i and Edge is lrying ro

figure OUI his chords, Bono may be t ry ingsome new voca l range, you want to help

keep a ll o f thi s up in the a ir.



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C There must be t imes tha t a re fi ll ed with wonde rfu l moments of uni ty , and t imes

when you ar e think ing, ok everybody - we've had enough there now. I imagine

there isa matur ity that allows for the ebb and f low in those moments .

E Well, i t i s a chall enge at times not 10 lose concentration when there's nothing

interes ting going on. Sometimes. a day or two can go by, and then out of nowhere.

something arrives that is truly brilliant, Maybe a great groove or jus t <1 great series

of chord changes . That iswhat happened with "Magn ificent" The basic chord

progression had a power that got everyone inspired. J think we al l knew that i twas

inherently joyful, which is rare. We had a group of Moroccan percussionists in at

the t ime. They played a long wi th us. and wha t was al ready a very rhythmic jam

went onto another level of sophistication. So in the DNA of the chords and groove

was a feel ing that made the song a favouri te f rom the beg inn ing . I t' s har d 10

explai n [his if you are not a musician, but I iterally a combination of chords can

start to become something like a voice.

C Out of a l l the songs. which one i syour f avouri te? Which one speaks to you

most?

E There ar e songs tha t r ef lec t a ll the ri sks we have taken on rh i s a lbum, defi n it ely

"Moment Of Surrender" isa s tand out. "Unknown Caller" , "Breathe" and "Get On

Your Boots" a re tunes I pu t a lot o fwork into. My current f avouri te out of those

four, well i t's dif ficult as I really have so many favourites, I would say that

"Unknown Caller" has something about it that I don't fully understand. That song

will gel better with age. It came together so f as t, s o fa st we never had a chance tothink about it too much. I t's hard to know when we're inthat f ree- flowing

situation ifa tune has taken the r ight tum. I remember thinking, is this verse too

much of a downer? If I had had t ime I migh t have suggested a few a lternat ives fo r

the vers e chords, but then maybe the song wouldn' t be asgood . Sometimes we

real ly don 't know what we ar e doing , tha t' s the st reng th and weakness of U2.

C Bono talks abou t the pure joy of exploring the world of not knowing , i t i s such

8 fantastic creative environment to explore. That support, no matter what combina

t ions have emerged over the las t 30yea rs , appea rs tobe at the core of who U2 ar e,

sti11will ing to suppor t each other in the darkness ofdiscovery.

E It never get s easy . I n those moments, wher e anyone of usmigh t want to se tt le

or take the easy way out, the three others and the producers would say, f !'** that,

tha t' s l azy, we can do bet te r, s oyou have to step up and mean i t!

C "Meaning i t" accounts fo r so much inU2 land.

E Wel l, "not mean ing i t" has a certain sound and i t' s qui te obv ious, and the bes t

way to descr ibe it is I ifeless. but getting to "meaning it" involves finding anorigi nal perspective. Bono writing inthe third person, relocating to Morocco, and

collaborating with Brian and Danny on the songwriting; i t a ll helped us to write in

a new way. but in the end, l ike eve ry o ther U2 a lbum. i twil l beabout the four of

us. and what inspires us. You cannot make music unless you are inspired. I can tell

you tha t every sing le one of these tunes has g iven me goose bumps and made me

go, f !'** , thi s i swhy Igo t into a rock 'n' ro ll band in[ he f ir st p lace. L isten ing back

to the rough mixes you think , thi s i s i t , J have the bes t job in the world, to be able

to play guitar in this band to help tocreate these tunes , to be a round for those mo

ments when magic happens . . i t' s brilliant, And although this album has been

tough tof in ish, when i t i s I th ink i t' s going tobe one of OLLres t ever.



C There a re a few love songs here , can we talk abou t them?

B Le t' s st ick with fi rs t love and the n ight t ime side of the a lbum, because these

me all ' firs t love' songs. So, here we have "Magnif icent" , I "'(IS born 10 be with

)'011 I In thi s space and t ime I A ft er tha t and ever a ft er f haven 'I had a due . WhiIe

writi ng this song, I was thinking about the kind of lyr ic Cole Por ter would sing,

but I was also thinking about the Magnificat. Bach does a good one., . ( sings the

tune and laughs ). Th is one i s about two lover s holding on toeach o ther and t ry ing

to turn the ir l if e into worship. Not of each o ther, but of being al ive ,o f God .. o f

spirit.

C Fi rs t love i s so confusing and yet i t i s so abso lu te .

B I've been inconfusion , tha t' s fo r sure , Which I guess br ings us to "Get On

Your Boots", The future needs a b ig ki ss I Wind b lows with a twts t I Never seen a

moon l ike thi s I Can you see i t too ~ IN ight isfal ling everywhere I Rockets at the

funfair I Satun loves (Ibombscare I 8111he w"n 't ,ware you, This song is s et at a

fa irg round outside Nice in France , whe re Ali and I take our k ids. It i s a song from

a man to his f ir st love" She doesn't realise how beautiful she is. I t's s imple and

p layfu l, but in the pe riphera l vi sion of i t you get the sense tha t ther e i sdange r, a

ghost t rain r ide, a hal l of mi rro rs . We ar e a round the corner f rom the house of

horro rs in thi s happy place . During the summer at n ight we couIdhear the low

rumbles of f ighters and bomber s on the ir way towar i ll the Gul f , We've t ri ed

with only one except ion, " Whi te AsSnow", tokeep the war out of the cen tr e of

this album. But it's always present in the per ipheral vis ion . . , especially ina song

like "Cedars of Lebanon"

C I l ike the dua li ty , the complexi ty , the surface and the depth, the darkness

makes the I ight of the other songs brighter by contras t. . . What about the characterin"Moment of Surrender", is he the same person as in "Unknown Caller"?

B Yes .Here i s ano ther cha racter, a war veteran. I n my head hewas part o f the

Somali Adventure that went so wrong. We think about him ,1 > someone who has

not been able to reintegrate or re-enter e3! th 's atmosphere yet. He hasn 't managed

to return to himself . I believe insanity is the sane response of sane individuals to

insane situations. In"Moment Of Surrender" ,he has dragged his wife into drugs

and booze, hecan 't l ive wi th what hehas done to he r and sohe breaks down

beside an ATM machine and begs God tode live r them. He ends up ina motel

room at the end of h is r ope . He picks uph is cel l toca ll someone e ither fo r he lpor

drugs , we don 't know, but he can' t get a signal . Then some th ing mad happens. The

phone starts to text him instructions, He doesn't know where the messages are

coming from, he i snot sure whe ther they ar e fr om someone he knows or has

me t. . Are they from his consc ience , i s i t a cr ank, o r i s i tGod? This a lt ered SUite is

the driving force in"U nknown Caller"

C In a funny way, these cha racters a re qui te re fl ect ive of the band' s journey, oneof seeking,

B Wel l, they ar e a ll char ac te rs that a re moments in t ime , some th ing i s about to

happen to them, , 1 1 1 a re ep iphanies. I don ' ( think ther e i s any one of them, even the

war cor respondent, who reallses the real war he iscovering.

C In terms of the music tha t i sp lay ing inyour head asyou ar e wri ti ng, the re a re

so many genres in the hi story ofmus ic , Are you think ing about thi s inany way, or

a re you think ing about wha t the f ee ling of the song isor should be?

B 1usual ly s ta rt wi th the music and let the music tel l me wha t to SiW You know,

i t i s a lmost l ike the words f orm inmy mouth l ike tee th on a baby' s gum. You

know, they just kind of come our .

C Do you get surpri sed about where they go? Are you in tha t phase r ight now?

B Yes ,and of course , the journey has not ended . ..



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C One of the th i ngs that Edge sai d, J th inkwas very f unny. He said "Wel l, [

am in my own world in Malibu making music based on Lar ry 's loops . I'm just

doi ng my thing with them, speeding them up, s lowing them down, adding

elements, then I bring these enhanced loops back and say 'Ok Larry, there you

go" And your response is "Well, who the hell do you t hi nk is going to be able to

play that l ive?" And hisresponse was something Iike "O h yeah, well I wasn't

really thinking about that!" I can imagine there are some funny retor ts in those

moments where you real ly want to make i thappen forEdge, bu t i t' s imposs ib le to

play at those speeds.

L Yes, when you take sornethi ngl ike a drum loop or drum idea, and you squash i t

and stretch it, EQ it, along with the other effects , and after Edge has done his thing

to i t , we ll you can end up with these amazing sounding pieces, but they can be

impossible to recreate. To actually play some of Edge 's t empos can be very

dif ficult , and we sometimes end up in these very funny Spinal Tap moments

discuss ing what Edge did to my drum par ts . .. bas tard.

C Adam said that each person has a different reason as to why they enjoy playing

l ive, and f el t that p laying l ive was the one moment f or the band where the re ar e

absolutely no dis tractions: no dis tractions f rom the outside, no phones, no

meetings, and in that one moment there is this incredible balance.

L I do think he i s r ight , and even i f you ar e hav ing a bad day , when you a re out

there, your focus is on the music.

C You have th is additional role as the root of the band when playing Iive, your

timekeeping is impeccable, that has got to be exhausting to a degree. I t's not l ike

you are s il ting there say ing "Ok, 1'1[ just take a lit tle break here at the backof the stage while Edge goes off on a ri ff' .

L No, but I th ink tha t th is i s the di fference belween people who want tobe star

musicians, and people who wan! tobe "members of the band". People who a re

"members of the band" are not necessar i l y there because of their musical prowess .

[ am not interes ted in being a superstar drummer, I d on't have the chops for it. So [

have accepted my role, Im a timekeeper, that is what Io . I keep t ime , Ihold the

band together onstage and that ismy job. I cou ldn 't be happier doing it.

C Lar ry ' live ' then i s a ver y d iff erent person f rom the person who is inthe studio.

ln the studio you are par t of the learn creating the language for the album.

L Well, I 'm not inthe studio ke-epingtime, that's for sure, Im pan of the creative

process in the studio. I t's a di f ferent creative process live. The songs have to be in

t ime and people have got to f ee l it. Bono, Edge and Adam have to be al lowed todo

their thing on stage and move mound without worrying about what the drummer is

at! I twill be interes ting with some of the new mater ial on the record, because

some of it isa lit tle f luffy.

C Can we use that word, Fluffy?L Yeah, Ihink so.

C It was lovel y to see Edge, as we went through the set Ist of songs, seerni ng

almost giddy in a way, he was qui te del ighted wi th what he felt everyone had

brought to the album. He felt l ike all the really important things about U2 were

still right in there.

L Yes. I n the end he i s r ight , however we have to take care of those importan t

rhings, because they a re easy to lose a long the way, and toquote a well-known

lyric, O ne L ov e, w e g e l 10 share 1 ' 1 , l ea ve s y ou b ab y if y ou d on 'I c a r e f o r i t . . .

C Hopefu lIy, there wi [I be some sor t of lovely awakeni ng or awareness on that

level.

L There wil l be, J have faith.



C Let 's talk about "Moment of Surrender".

A I think we f irs t p layed thi s inDubJin. I don 't know whose chords they were ,

they may have been Edge's chords. Lar ry was playing his new electronic

synthesized kit , the advantage to this kit was that it had volume control , so he

never got too loud. This mean t that Larry was in the room more, and tha t the re was

good eye contact between everyone, i t a llowed Larry greater creative input. At

f irs t he r ea lly d id not know how the k it worked. Wewould be in the midd le of a

take and Larry would tum a knob and the sound would change, so we couldn' trepeal things; n order 10 per fect them. As a result. the sounds are quite odd as

Larry is jus t playing on the f ly. Very inspiring, in its own sense.

C One of the thoughts tha t Bono touched on in h is convers at ion was about the

power of relationships . He was talking about personal relationships , and the

need to sur render to them. This sur render can happen in one 's profess ional l ife

and personal I ife. Edge mentioned how the four of you have to really sur render

to each o ther inorder tobe the best f or U2.

A It i s in some ways a s tra tegy to surrender.

C Some people call that matur ity, Adam.

A No, I th ink ina way matur ity i s a d iffe rent thing . That moment of sur render i s

sornethi ng else, it isspiritual, it is intellectual, it is human. You are acknowledging

your humani ty . It i s a submissive , but a s trong and courageous thing todo . It i s

many things ...

C So wha t drives U2 to push beyond prev ious ly se t goal s? Is 'OK' ever enough?

A No, no t real ly .. I think you lear n tha t s taying re levan t i s an importan t st rugg le,

i tgoes back (0(he concept of sur render . I fyou assume that there is some kind of

limit , i ta l lows you to give Lip.But I think with U2 it's more about f inding the truth

within the work, f inding a truth isprobably what art does best. I think that is true

for U2 as well.

C Can we talk about "No Line on the Horizon" ?

A That s tarted out as a drum pattern (hat Lar ry was play; ng and simultaneously

Edge s ta rt ed to p laya chord parr: The b lend was something un ique . It was nor

some th ing tha t was c la ss ic U2 or c la ss ic r ock 'n' ro ll , i twas l ike something new

and other wor ldly. Some of this record feels l ike it has emerged from another

wor ld or dimension, we felt l ike we could actually reinvent U2, but s ti ll be U2.

C I do think U2 have interjected a lot o f spi ri t i ruo the genera l chaos ove r the

years , and through their music have giyen people I it tle breath ing spaces.

A I suppose r ea lly a t the end of the day, the jour ney i s about being al ive mental ly ,

spiri tually, and intellectually, and being aware of what reali ty is l ike for mostpeople who have to struggle. I try to come back tosome kind of grati tude, some

kind of acknowledgment, that what we all do ascreative people is pretty unique

compared to wha t i sgoing on for many people ino ther pa rt s o f the wor ld

r ight now. Wedo think about all of these things.

C Wel l, thi s g rat itude i s some th ing tha t Edge a lso touched on, af ter looking a t the

songs and think ing about how much he loved each one, hesaid "How lucky

am 11I am in the band I love, I 'm playing the gui ta r and I couldn 't be happier".

A In a f unny way, I feel that same sense ofgr at itude when I'm out on stage. Being

on stage i s such a moment of c la ri ty , because you can only do the thing tha t you

are there to do- be a musician and play with the band.



I. NOLINEONTHE HORIZON

Music byU2,BrianEno andDannyLanois

Lyricsby Bono

5. ILL GOCRAZYIFI DONT GOCRAZYTONIGHT

MusicbyU2

Lyricsby Bono

9 . WHITE ASSNOW

Lyricsby U2withBrianEno andDannyLanois

Music: Tradi tionakarrangement byU2



NO LINE ON THE HORIZON

Bon o V oc al s a nd G ui ta r

T he E dg e G ui ta r, V oc al s a nd P ia no

A dam C la yt on B as s G ui ta r

L ar ry M ul le n J r D ru ms a nd P er cu ss io n

P au l M cG ui nn es s M an ag er , P ri nc ip le M an ag em en t D ub li n a nd N ew Y or k

B ri an Bno Rhy th m L oo ps , P ro gr ammi ng , S yn th es iz er s a nd V oc al s

D an ny L an ai s G ui ta r a nd V oc al s

Ter ry Law less Add it io na l P iano , F en de r Rhodes and Keybo ar ds

M us ic U 2 w i th B ri an Bno a nd D an ny L an ai s

L yr ic s B on o e t a l , e s pe ci al ly T he E dg e

P ro du ce d b y B ri an E no , D an ny L an ai s a nd S te ve L il iy wh it e

Eng in ee red b y Richa rd Rainey, Dec lan Gaf fn ey , CJ E ir ik sson , Carl G lanv il le,

Ton y Mangu rian and Dav e Emery

Add it ion al eng in ee ring b y F lo rian Ammon and Cenzo Townshend

Assisted by Chr is H ea ne y, T om H ou gh , K ev in - Ke vo - W il so n a nd D av e C la us s

Mixed by S teve L il lywhi te , Dec lan Gaf fn ey , Dan ny Lan ois , CJ E i riks so n,

Cen zo Townshend , Car l G ranv il le and Rich ar d Rainey

R ec or de d a tHQ , R ia d E I Y ac ou t i n F ez , P la ti nu m S ou nd R ec or di ng S tu di os i n N ew Y or k, a nd O ly mp ic S tu di os i n L o nd on

Studio Crew

S tu di o M an ag er /D ru m T ec h S am O S ul li va n

S tu di o T ec h R ab M cA ll is te r

G ui ta r T ec h D al la s S ch oo

C at er in g S an dy H yl to n

M as te ri ng J oh n D av is a tM e tr op ol is M as te ri ng , L on do n

Audio Post Production

Co- or dina t io n and Qua li ty Con tr ol Chery l Eng els a t P ar tia l P ro du ct ion s

A lb um P ro du ct io n M an ag er s S te ve M at th ew s a nd C an di da Bouact

Thanks to :

Trevor Bowen, Keryn Kaplan, Steve Matthews, Candida Bottaci, Sharon Callaly, Cillian Guidera, Susan Hunter, Missy Iredell, Paul Kremen, Cannel Lee, Michelle Lieu,

Shan Lui, Sally-Anne McKeown, Cecilia Mul l en , Nadine OFlynn, Eileen Osborne, Avril Slevin, Maire Smith , Gerry Watters, Kevin Singleton, Adrian Kelly , Michael Sbaw,

Gaby Smyth , Anne-Marie Smyth , John ONeill,Jan Favie, Peter Lacy, George Reddin, David Devlin, David Enright, David Toraya, Allen Grubman, Artie Indursky,

Theodore Harr is,Jess Drabkin , Nick Vainer, Paddy Gardiner , Fred Feingold ,John Gula, Jennifer Czin, Brian Murphy andMazars, Regine Moylett andFrances McCahon and

RMP, Sharon Blankson, Karen Nicholson, Chloe Bloch, JayMaskrey, Sandy Hylton, Fintau Fitzgerald , Sebastian Clayton, Jeremy Joseph andall at De-lux, Dell Furano,

S teve Averi l l and Shaug hn McGra th, Cathe rine Owens , Chery l Eng els, Ned OHan lo n and Tara Mul len , J ack Heasl ip, D rMark Holmes , D rDavid Har ri s, D rHay and the

Mayo Clinic, DrMiiller-Wolfahrt, Imke Bergmann, Dennis Sheehan, Lindsey Sheehan, Inge Eulitz, Bret andTheresa Alexander, Marc Coleman, Brian Murphy andthe lads,

Kevin Lawless,Anton Corbijn , RickRubin forwisdom, Mark 'Spike Stent, Patr ick Dillett, Jonathan Shakhovskoy, Arden Altino, Lori Ann Reid, Anthea Norman-Taylor and

Jane Geerts, Doug Morris, Jimmy Iovine forbelieving that U2 area brand new band, Zach Horowitz, Steve Berman, Lori Earl, Brenda Romano, Gretchen Anderson,

Kathy Angstadt, Candy Berry , Lucian Grainge, MaxHole, David Joseph, Jason Hey, Christine Atkins, Naomi Beresford-Webb, RobWells, David Renzer, Dylan 'White,

Jeff Pollack , Candice Hanson,Julie Panebianco, Wyclef Jean , Jerry Wonda, Martin Wroe, Dessie, Darren, Mick Meehan, David ,Jerry Judge, Milton, Edwin, Darren and

Jim McC, Glenn, Chapman Freeborn , RiadEl Yacout, Barry Slattery , Arthur Fogel andMichael Rapino forfaith in music, Craig Evans, Eric Kert, Jake Berry , Denis Desmond,

BillFlanagan, Ralph Simon, Tero Ojanpera, Harry Crosbie, Michael Stipe, Chris Martin, Jay Z and the Queen B,Bob G ,Gavin F riday and S imon Carmody f or the ir eyes and

ears, Guggi for inspiration andtour management, Regfor getting me there, allof theStankards,Ali, Jordan, Eve, Eli, lohn, Terry andJoy, Lucy, lamie, Catriona, Jennifer ,

M ik i, Non ie , J ackie , S imon , Mar k, Dar ag h, Joh n, Hugh, Emma, N iamh , (A, Band T wemiss y ou ), Norman and h is c lan, the r es to f the f am ily, my f r ien ds - I am sor ry f or

disappearing, I am loyal ifunreliable I know, Bobby Shriver forbrotherhood, TomPreston forclar ity andhumour, Nelson Mandela andDesmond Tutu ( the Arch) for

leadership, Christophe andLorna Marecaut, Beta, Carlo , Marc, Bruno, Morleigh , Hollie, Arran , Blue, Sian, Levi, Garvin, Gwenda, Gill, Richard , Aislinn , Liz, Sammy, Margo,

Rima, StAnn Gallagher, Lenny, Bob,Annie, Oguri, Eliza, Moses, Ciara Evans, Chanty, Bob Ezrin , Caroline Galloway, Henry Juszkiewicz, Kristen Madsen, Prof Owen Smith ,

Dr Stuar t Segal, Dr Aengus OMarcaigh, Dr William L, Billie JoeAnnstrong, Mike Dirnt, TreCool, The Mighty Boosh , JimVanden Berg , Carol, Nikki, John G Lesley,

A,E.AE, MrRay Moran, Mr Kevin Mulhall, Lisa, DrMark Philippon, Dr Peter Millett, DrRichard Stedman, Teri, Cristal, Luke andMike, Elizabeth Spencer , Dr C Goldstein,

Helen , Laura, Breda, Alison, Joy, all theboys at thehouse, Mark, Sean, Barbara, P a u l, L y n s , Neddy,ALK, JP, Suz , David , Sian andOliv ia Beal, Richard, Marcia, B Kennedy,

P au l S ,LM Snr and A lice, Dan CDHeg ar ty , JG ib ney and Son s, The Abb ey Tav er n, E rr ol Brown .

Thank s toO l ive r S ev es rr e and a l la t th e Clar en ce Hotel , a ll a tCla ridg es , P au lA l len and h is p eo ple, Ken F riedman, Apr il Bloomf ie ld, Spo tted P ig , Mar io Batal i , Cap ta in Pete r

andthe crew ofCYAN, Jules, Samy, Cyril, JoeRobertson, Serge Pacrus, Simon Climie.

Thanks to allat Platinum Sound Recording Studios, New York,and Olympic Studios, London.

Thanks to BigBear Sound, Sensible Music Ireland, Yamaha Drums, Ludwig Drums, Paiste Cymbals, Roland Ireland, Zlldjian Cymbals, Pro-Mark Sticks,

Remo Drum Heads, Rock-it Cargo, Hanway Haulage, Digidesign , Dublin Flight Case Company, Derek Nelson, Gibson Guitars, VOX Amplif iers,

T im Godwin a tL ine 6, Ernie Ball Guitar Strings, Chicago Music Exchange Vmtage Guitars, Waltons Music Store, Lakland Basses, BillCummiskey atFender Musical

Instruments, Warwick Basses,Ashdown Design Bass Amplifiers, DR Bass Strings, Fred GretschiGretsch Guitar Co.

Thank s a lso f rom Bono to ev er yo ne a tONE and a l lo f th o se who sup po rt them, inc lu ding the Bi ll and Mel in da Gales Fou nd at ion , J oh n Doerr , Sus ieBu f fe tt , Rog er McNamee ,

Paddy McKilIen , Bernard McNamara, Johnny Ronan, Sean Mulryan, Derek Quinlan . Thanks to all a t (RED) , the (RED) ambas sado rs and (RED) companies, Thank s to th e

partners andeveryone at Elevation, andto all at Edun andNude.

Thanks alsofrom Edge toMusic Rising, Angiogenesis Foundation , Mencap, Children 's Hospital, LosAngeles, OurLadys Hospital forSick Children , Crumlin .

Ded icated to th e memor y o fRob Par tr id ge , who b el iev ed in u s , a lmos t b ef or e wed id . . , a lmos t. 1 94 8 - 2 00 8

ProducedbyBrianEno andDannyLanois

Additionalproduction bySteve Lillywhite

EngineeredbyRichardRainey

Assistedby ChrisHeaney

AdditionalengineeringbyCarl Ganvi e CenzoTownshend

Mixedby CenzoTownshend

Assistedby NeilComber

2 . MAGNIF1CENTMusic byU2,BrianEno andDannyLanas

Lyricsby BonoandTheEdge


Additionalproduction by SteveLi llywhite



AdditionalengineeringbyCarlGlanville,Declan GaffneyandDave Emery

Mixedby CenzoTownshend

Assistedby NeilCornber

AdditionalkeyboardsbyTerryLawless,Bono andw L am

3. MOMENTOF SURRENDER

Music byU2,Brian E no a nd DannyLanois

Lyricsby Bono

ProducedbyBrianEno andDannyLanos


Assistedby ChrisHeaneyAdditionalengineering by Decan Gaffney,Carl G a nv e

MixedbyDannyLanois and Decen Gaffney

AssistedbyTomHough,DaveClauss,DaveEmery

Additionalkeyboards byTerry Lawless

Cello: CarolineDale

4 . UNKNOWN CALLERMusic andlyricsbyU2, BrianEnoandDanny Lancs

ProducedbyBrianEno andDannyLanos

Additionalproduction bySteve Lillywhite



AdditionalengineeringbyCarlGlanville,Declan Gaffney

MixedbyDannyLanois and Declan Gaffney

Assistedby DaveEmery,DaveClaussand TornHough


FrenchHom: RichardWatkins

ProducedbySteveLillywhite

Additionalproduction bywill.i.am

Engineeredby C Er ksson

AssistedbyTom Hough

Additionalengineering by Decan Gaffney

MixedbySteveLillywhiteand CJ Er ksson

Assistedby DaveEmery

Cello: CarolineDale

Violin: CathyThompson

Additionalkeyboardsby TerryLawlessand w i am

6 . GET ONYOURBOOTS

MusicbyU2

Lyricsby Bono


Additionalproduction byDecan Gaffney


Additionalengineering by Decan GaffneyandCarl Glanville

MixedbyDeclanGaffney

Keyboardsby TerryLawless

AdditionalpercussionbySam OSullivan

7 . STANDUPCOMEDY

MusicbyU2

Lyricsby Bono


Additionalproduction bySteve L ywh i e

EngineeredbyCl Er ksson RichardRainey

Asssed byDaveEmery,TornHoughandDaveClauss

Additionalengineering byDeclan Gaffney

MixedbySteveLillywhiteand Cl Er ksscnAssistedbyDave Emery,TomHoughandDaveClauss

8 . F EZ - : &i og B or n

Music byU2,Brian EnoandDannyLanois

Lyricsby Bono

Produced byBrianEooand DannyLanos

Engineeredby RichardRai ney,Decan Gaffney,Dave Emery

andTony Mangurian

AssistedbyDave ClaussandChrisHeaney

Additionalengineering by Foran Ammon

As,istedbyKevin"Kevo"Wilson

FEZ MixedbyDecan Gaffney,DaveEmeryandBrianEno

AssistedbyTom Hough

BeingBorn:Mixedby RichardRainey

Additionalmixing by Decan Gaffney

ProgrammingbyTonyMangurianand BrianEno


BoySoprano:LouisWatkins

withBrianEnoandDanny Lanois

ProducedbyBrianEno andDannyLanas

EngineeredbyRichardRaineyandDeclanGaffney

AssistedbyChris Heaney

MixedbyDeclanGaffney

AssistedbyTom Hough

FrenchHom: RichardWatkins

10. BREATHE

MusicbyU2

Lyricsby Bono

ProducedbySteveLillywhite

Additionalproduction byDanny Lanos andBrianEno

Engineeredby Declan Gaffney

Asssed byTomHough

AdditionalengineeringbyCIEiriksson

MixedbySteveLillywhite andC Eiriksson

Assistedby DaveErnery

Cello: CarolineDale


11. CEDARSOFLEBANONMusicbyU2,BrianEno andDannyLanos

Lyricsby Bono

Producedby Danny Lanos

Engineeredby TonyMangurian

Assistedby Chrs Heaney

AdditionalengineeringbyDeclanGaffney,RichardRainey

MixedbyDannyLancs and Decan Gaffney

Asssed byDaveClauss

FeaturingHaroldBudd*

*'Cedars ofLebanon' includesa sampleof therecording"AgainstTheSky" performed byHaroldBuddandBrianEnofromthealbum"ThePearl"(VirginlEMI1984· ENOCDI3)Licensedcourtesy ofVirgin RecordsLirnitedTbecomposition "Cedars ofLebanon"containselementsfrom"AgainsttheSky"writtenbyHaroldBuddandBrianEnoandpublishedbyUnive rsa Songs ofPolygrarnInternationalInc /Toyon Mus c / OpalMusic LondonUsedbypermsson. Allrightsreserved

TitleswrittenbyU2IBrianEnolDanny Lanos andpublishedby UniversalMusicPublishingBY/OpalMusic,exceptin NorthAmericabyUpalaMusicInclBMI

BOOK CREDITS

Crea tive D ir ec tor : Cathe rine Owens

Colou r Pho to gr ap hs :Kenn y Mor ri s on

Black & White Pho to gr ap hs : Anton Cor bi jn

Cov er p ho to gr ap h 'Bod en Sea , U ttwi l :Su gimoto

C en te rf ol d P ho to gr ap h ' N, A tl an ti c O ce an , C li ff s o fM o he r : S u gimo to

Photo Shoot Production

Ireland:

Mar y McCarthy : P ro du ce r

Suz ie Be lton : P ro du ct io n Coo rd in ator

LOl li s Con ro y: Gaf fe r

Mau rice Swan: E lec tr ic ian

S ti l l A ss is tant : J oh nn y Sav ag e

S ty li st : Sha ro n Blan kson

M ak e u p : S am J os ep h

Boo k D es ig n, P ho to E nh an ceme nt a nd Col ou r: J oh n L eamy

L ay ou t: J oh n L eamy a nd C at he ri ne Owe ns

Cover Design: Sheughn McG ra th a t F ou r5 0n eo Cr ea ti ve a nd J oh n L eamy

P ro du ced b yBenne t t L iebe r and Jes sica Fai rb an ks a t Spo ntan eo us

a nd Cha rl ie C ur ra n a tN ol a P ic tu re s NYC

Ass is tant to Cathe rine Owens : Lou is e F rabo ni

France:

Mar y McCar th y: P ro du ce r

S ti l l A ss is tant : J oh nn y Sav ag e

S ty li st : Sha ro n Blank so n

Mak e u p :J ay Maskr ey

I nter view trans cr ip tion s: Lou is e F rabo ni

Thank s to Juan Delcan and O livier Wicki f or the ir c reat ive inspi ra t io n. G lenn Baken a t Kale id os co pe NY, Les lie M il ler a tTh e G renf el l P ress

and all at Spontaneous.

' Br ea th e l yr ic s w er e w ri tt en t he d ay b ef or e N el so n M an de la s 9 0t h B ir th da y . .. b ut d id n' t, a cc or di ng t o Bo no , f it t he m us ic .

ForinformationonU2,write to : JoinAmnesty International;

U2WoridServicePOBox 1810Dublin!Irelandemail:[email protected]

AmnestyIrelandSeanMacBrideHouse48 Fee StreetDublin2Irelandwwwamnesy ie

AmnestyUKHurnanRights ActionCe ntreJ7/25NewInnYardLondon EC2A3EYUnitedKingdomwww.amnesty.org.uk

AmnestyUSA5 PennPlazaNewYork,NY10001USAwww.amnestyusa.org

SupportAungSan see Kyi. Helpusfree Burma

ForFreedom!For Burma!Takeaction!www.burmacampaign.org.uk

TheBurmaCampaignUK28CharlesSquareLondon NI6HTemail: infots'burmacampalgn.org.uk

FightAIDSandextreme povertylointhe OneCarnpaign: www.one.orgBuy (RED) wwwoinredcom

Withrespect tothe IrishNGO,Concern

JoinGreenpeace

In theUK:wwwgreenpeaceorguk

email:[email protected]:0800 269065

In theUSAwwwgreenpeaceusaorg

email:[email protected]: 1·8003260959

RestOfThe Worldwww.greenpeace.orgemail:[email protected]:+31 205148150

G o t o W I 'i W .n o ll n oo n th e h or lz o n. co m lb o n us w i th t hi s C D I n y o u r ce rm es r d r iv e a n d f o lt o w t h e e r r o re i n st ru c ti o ns t o w a t ch - u re a r. a n e x cl U Si ve A n to n C o rb i jn f il m

mailto:email:[email protected]

http://www.u2.com/

http://www.amnesty.ie/

http://www.amnesty.org.uk/

http://www.amnestyusa.org/

http://www.burmacampaign.org.uk/

http://www.one.org/

http://www.greenpeace.org.uk/


http://www.greenpeaceusa.org/


http://www.greenpeace.org/



http://www.greenpeace.org/


http://www.greenpeaceusa.org/


http://www.greenpeace.org.uk/

http://www.one.org/

http://www.burmacampaign.org.uk/

http://www.amnestyusa.org/

http://www.amnesty.org.uk/

http://www.amnesty.ie/

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Digital Booklet - No Line on the Horizon Magazine

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Transcript of Digital Booklet - No Line on the Horizon Magazine