Reception
"So Cruel" was favourably received by critics. Hot Press editor Niall Stokes called it "dark, bitter, intense and masochistic", believing the lyrics to be the aspect that made the song memorable. He added, "As a statement about marital infidelity, the sense of betrayal that accompanies it and the rage that almost inevitably follows, it would be hard to surpass." Uncut contributor Gavin Martin rated the song four stars, calling it "lustful and lustrous". He said that "The Edge's looped five-note piano motif is encircled by a sabre-rattling guitar and a fine synthesized string part; lushly multi-dimensional, pregnant with poise and feeling" and that the theme of "marital disharmony and emotional desolation" underpinning Achtung Baby was especially evident on the song. Greg Potter of The Vancouver Sun wrote that it was "riddled with images of self-doubt and uncertainty". Elysa Gardner of Rolling Stone said, "Bono sounds humbler and more vulnerable than in the past", noting that he " his own potential for hypocrisy and inadequacy, and addressing basic human weaknesses rather than the failings of society at large".
Steve Morse of The Boston Globe called it an "embittered love " with "a minimalist drum sound from Larry Mullen and an even more minimalist vocal from Bono." Jon Pareles of The New York Times wrote that " a state of desperation or a bitter memory... The marchlike 'So Cruel' from fond reminiscence to vindictiveness to accusations, some of them directed at the narrator himself". Writing for the Boston Herald, Julie Romandetta called "So Cruel" a "broken-hearted " that was "lushly orchestrated". Robert Hillburn of the Los Angeles Times believed that it was one of U2's best tracks, describing it as "pulsating and accusatory". Brian Eno described the song as "epic and intimate, passionate and chill".
Read more about this topic: So Cruel
Famous quotes containing the word reception:
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)