Reviews
Radiohead
It’s coming up to over a week since its release but after much hullabaloo and expectance for this, Radiohead’s eighth album, we’ve had the usual polarisation of reviews. Not to mention Macbeth-stylee soothsayers predicting that lines “If you think this is over, you’re wrong” on last track ‘Separator’ indicate that a follow-up album is imminent.
Hmmmm… We’ll see.
As far as I’m concerned, a new Radiohead album is one of the few big-time releases in alt-rock music I get especially excited about. That much I do know.
So what’s the verdict? Well, the truth is I’m anything but disappointed, yet, I wasn’t instantly blown away either. Emphasis on the word ‘instantly’. For me, the real beauty of their last couple of albums lies in an ability to craft track after track that tug you by the heartstrings stronger with each listen. Albums that don’t reveal their true complexities until much, much later. Similarly, this is a creation which takes time to savour and is richly deserving of less of a kneejerk review.
Indeed, there are remnants of previous albums to be found in this one. On first listen, it may feel less of an experimental jump and, doubtless, people will draw their own conclusions as to similarities with previous concoctions. For me, ‘Little by Little’ is reminiscent of ‘I Might Be Wrong’ and there’s definitely something ‘Kid A’-sounding about ‘Lotus Flower’. None – repeat none – of this detracts from the ingenuity behind it. And, within this framework of familiarity, Radiohead still experiment and repurpose (not recycle) certain elements.
‘The King of Limbs’ builds on the aura of emotional warmth (flitting between digital and analogue palpitations) that ‘In Rainbows’ set down previously. ‘Bloom’ slowly brings the album to life with a jazzy bass hook and military snare drum in the distance. The pace is quickly altered by the cleverly-worded, staccato guitar-picking ‘Morning Mr Magpie’. On a lyrical level, Radiohead always deliver abstract songs that pack so much more into them than they initially show.
‘Little by Little’ taps into the paranoia unleashed on ‘OK Computer’ with frustration-tinged verses, and ‘Lotus Flower’ – with its digitally-siphoned warble – is incredible. Thom Yorke’s strained vocals ache with rawness as they do towards the latter part of the album especially.
Then we have the haunting calm of trio ‘Codex’, ‘Give Up the Ghost’ and ‘Separator’. Bear witness to three beautiful songs that epitomise Radiohead’s chameleonic ability. Stripped back and bare, the final one is this album’s equivalent to ‘Reckoner;’ touching beyond compare.
If I was being picky, one drawback is the eight-song, 37-minute running time. That said, why make an album longer if it contains everything you want to say at that point so concisely? Moreover, if that’s one of the very few things I can criticise, then either this album’s got little wrong with it or I’m just not a very good critic. For my own sanity, nay, reputation, I’m plumping for the former.
All in all it’s an incredibly accomplished, emotionally-rich album. No surprises (little in-joke there). The problem is that increasingly it seems that people expect, demand that Radiohead completely catch us off-guard with their experimental endeavours every time they resurface. The funny thing is that, on closer inspection, they still are experimenting – with this manifesting itself in the complexity, depth and range of emotion it explores. After playing this LP non-step over the last week, I can certainly attest to that.
Words: Ben Nicholas
‘The King of Limbs’ is out now. You can buy the digital album, or preorder the physical newspaper album here.
