Songs of surrender

"At worst, Songs of Surrender is an overindulgence. At best, it's a pleasant interlude. But it isn't something that's going to alter their legacy or the trajectory of their art in any direction, and U2 has always made it clear that we should expect more from them than that".

Læs anmeldelse

"Med Songs of Surrender erkender U2, at de har ramt muren. Inspirationen er forduftet ... Forventer man så noget nyt og uventet fra U2, er Songs of Surrender noget af en maveplasker. Der er overvejende tale om halvakustiske indspilninger, der i de mest iltfattige øjeblikke lyder som en MTV Unplugged-udgivelse fra 90'erne".

Læs anmeldelse

"Med Songs of Surrender erkender U2, at de har ramt muren. Inspirationen er forduftet ... Forventer man så noget nyt og uventet fra U2, er Songs of Surrender noget af en maveplasker. Der er overvejende tale om halvakustiske indspilninger, der i de mest iltfattige øjeblikke lyder som en MTV Unplugged-udgivelse fra 90'erne".

Læs anmeldelse

"At worst, Songs of Surrender is an overindulgence. At best, it's a pleasant interlude. But it isn't something that's going to alter their legacy or the trajectory of their art in any direction, and U2 has always made it clear that we should expect more from them than that".

Læs anmeldelse

"Artists rework their back catalogues for different reasons. For Taylor Swift, it's been a way to escape contractual constraints. For Kate Bush, on 2011's Director's Cut, it was an exercise in correcting niggling production and arrangement choices of the past. For U2, it sounds like a kind of liberation. If their creative missteps in the past two decades have generally been caused by their twin determinations to keep up with modern pop and relentlessly pursue music that works in stadia, then here they've cut themselves free from all of that. Ultimately, it may be a watershed moment. By stripping it all back down, in some ways, they're bigger".

"Artists rework their back catalogues for different reasons. For Taylor Swift, it's been a way to escape contractual constraints. For Kate Bush, on 2011's Director's Cut, it was an exercise in correcting niggling production and arrangement choices of the past. For U2, it sounds like a kind of liberation. If their creative missteps in the past two decades have generally been caused by their twin determinations to keep up with modern pop and relentlessly pursue music that works in stadia, then here they've cut themselves free from all of that. Ultimately, it may be a watershed moment. By stripping it all back down, in some ways, they're bigger".