"I don't wanna talk about wars between nations," Bono announces several songs into U2 [ tickets ]'s 12th studio album. Instead, he decides to focus mostly on love—--a topic the band has always served well.

With "No Line on the Horizon," the Irish pop kings combine expected epic crescendos and arena-ready anthems along with stirring electronic deviations and moody cinematic melodies.

Working largely with producers Brian Eno and Daniel Lanois, U2 infuse fresh energy into their traditional, and often predictable, style. The first half of "No Line on the Horizon" explodes with usual dramatic U2-rock force. The bright, spirited numbers are perfect adrenaline-pumpers and soft-drink commercial blockbusters. However, a few weak spots don't go unnoticed. Instead of sounding hip and tech-savvy, mundane lyrics about punching in ATM codes and rebooting give an awkward, out-dated feel. "Magnificent" has the group's quintessential force, but loses its punch when the repetitive chorus outwears its welcome. The snappy raps and dark undertones of "Get on Your Boots" resemble Escape Club's "Wild West" mixed with Alice In Chains melodic tendencies. Despite derivative hooks, it's one of the most immediately dynamic tracks.

Not until the digital rush of "FEZ – Being Born," do things take an unexpected turn and get increasingly interesting. In a down-tempo haze of poignant choruses and pulsating electric Pink Floyd-like climaxes, Bono and crew show they've still got the guts to take artistic chances. The melancholy "White As Snow" and strident buzz of "Breathe" are some of the album's most effective diversions. Bono gets magnificently intimate in the confessional closer, "Cedars of Lebanon."

U2 have made a massive career by developing a trademark, steady sound, but the more experimental tracks—--from throughout their catalogue, as well as those within "No Line on the Horizon"—"--prove that the group are often most inspiring when they're taking risks, away from the stadium-sized productions. Luckily, here, we get a bit of both.