"No Line On the Horizon" is U2's first record in over four years. When we last visited these rock superstars, they were promoting the multi platinum "How To Dismantle An Atomic Bomb", an album that played more like an extension of "All That You Can't Leave Behind" rather than an actual follow up. Both albums marked a return to the organic sound that put these Irish icons on the map. Gone was the sort of experimentation that flowed throughout the underrated "Pop", the stellar "Achtung Baby", and the grossly underappreciated "Zooropa".

With the amazingly satisfying and majestic "No Line On the Horizon", U2 have found a happy medium. On the one hand, this record certainly showcases the familiar sound that one might associate with U2. The stirring, chill inducing second track "Magnificent" over flows with Bono's soaring vocals and that unmistakable but perfectly fitting guitar echo that only The Edge can deliver. This is the kind of tune that would have fit perfectly on "The Unforgettable Fire" or "Joshua Tree".

With its catchy hooks, Bono's joyfully sunny lyrics, and an instantly hummable course, the album's fifth track "I'll Go Crazy If I Don't Go Crazy Tonight," has radio hit written all over it.

But for every familiar sounding tune on the record, is one with a new found sense of adventure and experimentation. The edgy title track is the perfect opener for the album and it recalls the anthemic fury of "The Fly" from their 1991 masterpiece "Achtung Baby."

On the funkadelic "Stand Up Comedy", Bono growls and gets his groove on while having fun with his own activist persona as he spews playful lines like; "Stand up to rock stars, Napolean is in high heels, Josephine be careful, of small men with big ideas ."

There are other self deprecating lyrics to be found on "No Line On the Horizon", and few other bands on the planet could get away with such funny business. U2 gets away with it because they've been around for so long. Bono has a huge head, but no one knows this better than Bono. The passionate, idealistic front-man plays with this very notion throughout the record.

U2 have gone through many phases during their illustrious career. They've been called everything from pompous and pretentious to passionate and vital and they use all of these labels to their utmost advantage. It's U2's humility and sense of humor that have allowed them to endure for all these years. Not many bands are as aptly able to take their own insecurity and harsh criticism and creatively channel it back through their music. But that's what U2 does, particularly on "No Line on the Horizon".

That's not to say everything comes up roses on the new record. Let's face it. Bono is not who he once was. His voice has become a bit weathered through the years and the falsetto is not quite what it used to be (it really shows on slower numbers like the somber "White As Snow"), but when Bono is feeling it, his passion gets him where he needs to be. As a wordsmith, Bono is not always as clever as he thinks he is, and perhaps that's where mega producers Brian Eno and Daniel Lanois probably should have jumped in. For whatever reason though (oh who am I kidding, we all know the reason–"NO ONE TELLS BONO WHAT TO DO!"), they've let him do what he wants lyrically and vocally pretty much every step of the way, and there certainly are times when the album suffers because of it. Just take a listen to the surprisingly uneventful single "Get On Your Boots". Technically, the tune is fun and up tempo but the lyrics are so nonsensical that it's hard to make any sort of sense out of it. Likewise, the much talked about final track on the album, the "Cedars of Lebanon," shouldn't have been the closer. It doesn't hold up to the earlier portions of the album.

Eno and Lanois would have also been well advised to tighten a few of the songs. "Moment of Surrender" is a gorgeous tune, but it's bogged down by an overly lengthy nature. It would have been a more effective number had it been two minutes shorter.

Thankfully though, the positives greatly outweigh the negatives here. "No Line On The Horizon" is painted on a much larger canvas than the last two records touching on a wide range of topics including love, religion, politics, ego, and the history of U2 itself. Musically, U2 have never sounded better. The Edge has his trademark sound stamped all over the record but he's also been given the opportunity to explore uncharted musical landscapes. Adam Clayton's bass playing skills have greatly matured through the years while Larry Mullen Jr. does some of the best work of his career here. Neither Clayton nor Mullen Jr. often get the credit they truly deserve for the magic they bring to the creative table. As for Bono, say what you will about his ego, the weathered vocals, and the sometimes heavy handed and nonsensical word play. The fact remains that he is and always will be one of the great front men in rock. His passion, sincerity, and soulful nature are at the very heart of this legendary band.

For me, the arrival of a new U2 record is always an event. Given that I'm a big time movie buff, let me put it in cinematic terms. I liken the experience to awaiting that next Steven Spielberg film. Even if its an imperfect effort, I somehow manage to find the good in it.

Having made that analogy, I'm happy to report that "No Line on the Horizon" is no "Indiana Jones and the Kingdom of the Crystal Skull". It's more on par with "Minority Report". The old U2 touch is there but it's fused with a new, adventurous approach. This is the band's strongest and most exciting effort since "Zooropa".

On a side note, for the massive U2 fan, check out the special "No Line On The Horizon" ltd. edition release. It comes with the new CD, a hardback book, and a companion DVD from prolific artist and longtime U2 collaborator Anton Corbijn.