Radiohead - In Rainbows
Tracklist:Disc One:
1. 15 Step
2. Bodysnatchers
3. Nude
4. Weird Fishes/Arpeggi
5. All I Need
6. Faust Arp
7. Reckoner
8. House of Cards
9. Jigsaw Falling Into Place
10. Videotape
Disc Two:
1. MK 1
2. Down Is the New Up
3. Go Slowly
4. MK 2
5. Last Flowers
6. Up on the Ladder
7. Bangers and Mash
8. Four Minute Warning
All those who had pre-ordered it received their downloading Radiohead In Rainbows at the same time - audiences and critics. The physical product, for those who do not have computers at their pleasure hearing aid, appear almost two months later with various tracks, vinyl and artwork for a fee of £ 40. But if you want to download it now, you can choose what you pay for it. As the website of the group, Not really, it's up to you.
This new distribution method for the Oxford quintet's seventh album, and the first since 2003 to Hail To The Thief, the record has seen the release of details splashed across major news and television, even the pages of companies Press. Out of contract with EMI, Radiohead were a blow to redefine what is possible in the hard and fast brave new world of the digital age, at least for a large group.
Indeed, the history of releasing his first album was the main talking point, without promotions for journalists to discuss the music. There is an argument that says that when a band is as big as Radiohead, the comments were superfluous: their work is critical to the test. Nor do they care about the charts - In Rainbows, available only through their official website, the picture is not eligible. But this is not going to stop anyone writes - finally - on the music.
So what's it like? In Rainbows, in common with many of Radiohead's output, revealing itself is still a layer at a time. It needs to be heard on the helmet. And then, out loud through speakers. It will undoubtedly continue to reveal the nuances of days and weeks. But first impressions suggest that, despite several of the songs featured in gestation for many years, it does not sound like a collection of out-takes, nor does it sounds as retrodden ground. This is not an experience to the electro Kid A, but there are a multitude of synthesized sounds (producer Mr Nigel Godrich the mark).
Sounds cool it is less to do with the progression of the song, even if it is visible, and more to do with the Group's performance and the production of his first album. After a long spell away from the scene behind a solo album by Thom Yorke and film music for Johnny Greenwood, the soundtrack you feel like they are back together.
Of course, this being Radiohead, the enjoyment is tempered by the fact that their formidable music was never exactly a bag of laughs. Instead that the enjoyment of the event is little detail. Moments of experimentation, playful drums that sound like they were written by Yorke on a drum of the machine and then by Phil Selway learned to play drums. Bars particular instruments or drums kick in, never in the most obvious.
The arrangements are equal parts organic and mechanical. Elements familiar rhythms of jazz, rock and space programme, the same mix of garage rock and melt and seep. Step 15 Opener, optimistic as an introduction to an album as Radiohead has ever written, in fact sounds like a dance steps 15. The rate for stays up Bodysnatchers, but then the first numbers smug, Nude, reign things right to a place for reflection later shared by pivot All I Need.
Recalling most of Kid A's wide-open spaces sound Nude sex could be Radiohead song. It's a gloriously laid-back track and one of the many to evoke images of quilts and early morning cuddles. Weird Fishes / Arpeggi, despite an uptempo drum sketch, but he also believes musically warm. It was then that if Yorke revisits previous impressionist, and aquatic dark lyrical themes (see also Pyramid Song). Yorke's voice could sing the phone book and make an audience cry, but it is never quite clear what he is singing, the sound is heavy.
"Wakey wakey, rise and shine," he whispers on Faust Arp, almost lost in the context of a string section. On stand-out House Of Cards, a mix of garage rock beat, it is closely prosaic again: "I do not want to be your friend, I just want to be your lover." If Radiohead earlier were mostly unintelligible lyrics or tilted in political life, songs of this album sound personal. There is a choir quality Yorke multidisciplinary monitoring voice too which makes it sound less isolated this time. And, especially on Reckoner, a song that could biblical soundtrack, it is very beautiful.
As a consolation to those fans who always want endless reiterations of The Bends, Jigsaw Falling Into Place underscores the fact that Radiohead can still rock when they fancy. "The beat goes round and round," Yorke describes, yelping. "Come and let the rest of the world." He 'live' favorite writing above all else, even if it seems out of place on Hail To The Thief.
The final Videotape, for a redefinition of the band applications of the technology, seems to be a rather ironic ode to old machines replaced by new ones. Or maybe it departed on loved ones. A simple piano line is finally offline kilter drum and haunting voices join reflection mood. And then it's over.
Leaving aside the cabinet, a sort of collector's item, how does this album of 10 basic pieces stack up to the first analysis to a back catalogue of the second person about? Well ... It's short, but it has its part and it sounds like a progression. Alternately dancing, blissed out romantic, familiar and new, it is technically and musically fascinating. Its juxtaposition of organizations and mechanisms is one of his many contradictions well executed. Packed but sparse, exciting, complex, innovative, simple. Without even a bar never missed mind a way of filling in Rainbows is more than any fan could expect.
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