"Achtung Baby" received acclaim from critics. Elysa Gardner of "Rolling Stone" said U2 had "proven that the same penchant for epic musical and verbal gestures that leads many artists to self-parody can, in more inspired hands, fuel the unforgettable fire that defines great rock & roll." The review said that the album, like its predecessor "Rattle and Hum", was an attempt by the band to "broaden its musical palette, but this time its ambitions are realized". Bill Wyman from "Entertainment Weekly" called it a "pristinely produced and surprisingly unpretentious return by one of the most impressive bands in the world". Steve Morse of "The Boston Globe" echoed these sentiments, stating that the album "not only reinvigorates their sound, but drops any self-righteousness. The songs focus on personal relationships, not on saving the world." Morse commended the album's "clanging, knob-twisting sound effects" and the Edge's "metallic, head-snapping guitar". In the "Los Angeles Times", Robert Hilburn stated, "the arty, guitar-driven textures are among the band's most confident and vigorous ever". He said the album is a difficult one for listeners because of the dark, introspective nature of the songs, which contrasts with the group's uplifting songs of the past. Parry Gettelmen of the "Orlando Sentinel" said that "Achtung Baby" "shows U2 still has the power to surprise", highlighting the warmth of Bono's vocals, the imagery of his lyrics, and the producers for helping the Edge "achieve a spacious sound without getting anthemic". He commended the band's musical transformation, saying, "U2 proves much more adept at the dance-trance thing than the Happy Roses or Stone Carpets or other indistinguishable haircut bands". Jon Pareles of "The New York Times" lauded the record not only for featuring "noisy, vertiginous arrangements", but also for the group's ability to "maintain its pop skills". The review concluded, "Stripped-down and defying its old formulas, U2 has given itself a fighting chance for the 1990s."