The Edge plays seven shades of groovy, ratttttling shit from his guitar. Track 3 is the deciding factor new sound for real, or false dawn?) Wire delivers. The third track is always the important marker for an album (first track is the statement piece – ‘dig the new sound!’ and the second is usually the familiar first single. The drums rattled, rolled and occasionally rifled, but Eno smoothed the toughness from them through a combined use of technology, considered microphone placement and a golden touch that had first come to the fore on those early Talking Heads albums. Instead, between them they produced The Unforgettable Fire, a multi-layered record full of darkness and light, gossamer thin textures side by side with sledgehammer unsubtleties, pinging atmospheric guitars and fluid, flowing basslines. It would prove fruitful and important.īoy 2, with tough, anthemic, post-punk guitars and a wham, bam, slam of tribal drums would not be forthcoming.
Initially sounding out Conny Plank, mastermind behind much of Can and Kraftwerk’s decidedly unbombastic and very European music, the band, only after much courting, began working with ambient soundscaper Brian Eno instead. Much to the horror of a label getting used to the ever-increasing ker-ching of units being sold, they parted ways with trusted producer Steve Lillywhite. Less bombast, more European was the brief.
A guitar-heavy irony-free zone, they waved their silly giant flags, planked their pixie boots firmly on their monitors and, with collar-bothering bouffants blowing gently in the stage fan-assisted breeze, set their sights firmly on world domination. Three albums in, and U2 were the Bunnymen on steroids.
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