In the past decade, the role of the music critic has almost been unnecessary when it came to the latest U2 album. Since 2000, their music hasn’t really differed at all, and everybody knew their new release would be a huge hit.

Just by glancing at the track list, U2’s latest album, No Line on the Horizon, looked as typically epic as U2 ever is. I mean, come on, the album ends with a song called “Cedars of Lebanon.” I wasn’t expecting to hear anything fresh or different on this one.

The opening track of No Line on the Horizon, however, puts that notion to rest.  The title track opens with an explosion of sound unlike anything the band produced before. The song includes a faint synth courtesy of co-producer and legend Brian Eno. The sound lies somewhere between conventional U2 and Computer World by Kraftwerk.

My initial reaction was to be confused.  But then I realized it: U2 could actually be doing something pretty cool.

“Magnificent” is a great example of how they’re constantly riding the line between “innovative” and “trying too hard.” It begins with a contrived techno sound, but it builds into an interesting, flowing guitar line.  Still, an interesting instrumental doesn’t do any good if Bono’s lyrics are just going to be melodramatic and contrived.

Actually, every song on the album would make for a terrific instrumental. Each song has a unique sound to it. The band and their faithful producers, (who have been with them since the early ’80s), Eno, Daniel Lanois and Steve Lillywhite, are in top form on the album. Rarely do they fall back on the old cliched U2 sound, aside from the sappy-and-rarely-clever lyrics.

On each of the last two U2 albums, there was an upbeat single. There was “Elevation” and “Beautiful Day” on All That You Can’t Leave Behind and “Vertigo” on How to Dismantle an Atomic Bomb. On this one, the definitive upbeat single is “Get on Your Boots.”

There’s just something so satisfyingly silly about hearing these hard-edged Irish men sing the words “sexy boots” in a higher voice. Plus, the song has a bass line straight from The Stooges and some funky percussion to back them up. It’s great to finally see some of U2’s old punk influences surface in this one.

The album’s only major problem is that it’s almost too varied. Some of the best albums keep it relatively simple and maintain an excellent feel, such as Marvin Gaye’s What’s Going On and even U2’s 1987 album, The Joshua Tree.

There are certainly some brilliant moments on the album. “FEZ-Being Born” sounds like a ghoulish trip-hop song, and “White as Snow” does an excellent job of showing off Bono’s rarely-featured lower vocal register. Nonetheless, it’s hard to make any great moment last when each song just overshadows the previous one with a drastically different sound. After listening to No Line on the Horizon, the only things that really stand out are the words “sexy boots” in a serene ocean of experimentalism.

U2 and the producers did a lot of excellent work making an album that is, on the whole, a nice listen. Also, it’s a huge success for U2, who desperately needed to take a step in a different direction.

Still, I’ve been waiting for the U2 album that makes me want to listen to it again and again, which hasn’t happened since I first heard The Joshua Tree. While I enjoyed the experimental steps they took with this album, the contrast from song to song gave me a headache in the end. It’s innovative, for sure, but I don’t think I’ll return to it anytime soon.