Radiohead - The King Of Limbs (Live Listening)

Radiohead - The King of Limbs

Opening up the zip file, here are the facts:

• That right above, is the official cover included
• it is indeed eight tracks as previously speculated
• ...clocking in at 37.4 minutes
• There's some familiar titles there including Morning Mr. Magpie, Give Up The Ghost and Lotus Flower
• I'm giddily excited

1) Bloom

Some twinkling looped piano, some strange looped effects - including Selway's familar off-kilter drum patterns begin the album, it's all cut and reverberated through. A minute in and we have Mr. Yorke's first appearance, "Open your mouth wide" as far as openings go, it's distinctly Radiohead, at least in their Kid A/Amnesiac experimental electronica mode. Yorke's soothing, drawn-out vocal contrasts nicely with the mathematic repetition and bubbling bass just behind him. Can even make out some of those skittering effects that coloured Like Spinning Plates. About halfway through the track and there's some more orchestrated colouring, horns, strings - all moving in ascension with some haunting harmonies. A short breakdown and the vocal line returns, with some equally yawning horns in tow. As is usually the case with all things 'head, it's beautifully textured, and coloured. As far as opening tracks go, it's more Packt Like Sardines than Airbag or even 15 Step, but perhaps it's a taster for what's to come and not the firecracker that will ignite it. Bloom seems a farily appropriate title then...

2) Morning Mr Magpie

Wow, this is not the version I remember, some spidery guitar work is fractured into some more textured looping, pattered snare. Yorke's vocal melody pierces over the loop, in sound it feels like an extension or a coda to Bloom. A vast change from the acoustic rendition that people may be familiar with from those Xmas podcasts all those years ago, transforming familiar tunes has always been the way the outfit do things - think of the shifts from early versions of Nude or Videotape to their album versions, not worse, just different.

There's some glimmer of the original as the textrues fade away to leave a low plucked guitar, some incessant vocal textures, and a stubbed bass pattern. It's all careening foward with delcious momentum however. Not necessarily building upward, but building none the less, like a rolling wheel. There's some interesting production going on in the background effects, very delicate swoops of guitar and ringing distortion. My memory's not great but the lyrics have change a bit too "Mr Magpie, you stole the music to my melody." A bit of light static into a fadeout and off.

3) Little By Little

Cool, sort of a lolloping rhythm with some chattering percussion pushed to the fore with guitars doing their low-slung bluesy thing a la Knives Out, I Might Be Wrong, Paranoid Android et al. Yorke continues a woozy delivery "the last one out of the box/the one that broke the spell," the 'bridge' (let's call it) has him delivering some sing-song patterns like "i'm such a tease/and you're such a flirt." That chattering percussion dies away to let his nagging descending line hit home, "little by little/by hook or by crook." Some more rhythms fill out the patterns, that chattering, but also some electronic high-hat work accentuating the syncopation. There's some sort of shimmering harp/guitar-esque chord that keeps appearing too, and then it's reversed to add a psychedelic flavour. The impression so far is that this is a rhytmic album, with a lot of dense textures built on fractured repetition. Sort of electronic music done with a live band setting, and so far - lots of gutiars. Always interesting to see how Radiohead will adapt their instruments. The result is a million miles away from, say, The Bends - but it's still them. It's probably a bit earlier to call - but it feels very different to In Rainbows thus far. This is however my favourite track, three tracks in. 

That nagging chorus and nursery-rhyme thing, combined with the jangling rhythms is very catchy. You can totally picture Thom doing his 'wobbly-head' thing to this live.

4) Feral
Another jazzy drum break, with very light chords punctuated over the top, as drifting away into the distance. The vocal enters, heavily treated and modified, a la Kid A's title track. Mr. Greenwood's bass enters the fray briefly only to depart again. There's swells of Thom's voice splaying and morphing off the walls. A little like Everything In Its Right Place's coda, but a lot more spooky. A little into it and there's something more solid, a sub-woofer testing bass rhythm that complements Yorke's cooing - oh and more treated vocals - bit like Pulk Pull/Revolving Doors. Can you tell I'm struggling to describe the experimentalism going on here? And at 3:13 it's the album's shortest track, a curious interlude. File under: Amnesiac outtake.

5) Lotus Flower 
Judging from the fact that it was released with a video of a wild, whipping Thom Yorke - this could very loosely be described as 'the single.' Though that term has little effect with a band like this anymore. No matter, a simple bass part is played out over a signature Phil Selway drum beat. All off-beat accentuation. A plucked guitar part rises through the mix to offset the drums, some handclaps echo lightly in the background; and that keys part is palmed off to the bassline. Again, this is in stark contrast to the earlier versions that the group have played before. Much more electronic and building on textures. Yorke slides into his timeless falsetto for the chorus, a nice fluttering melody against some rubber key work. The final line "listen to your heart" has the last word sliding and mirroring into itself, as if duplicating endlessly as the keyboard line thickens. The second verse sees Yorke retaining the higher register and more echoes of the vocal line disseminating into strange echoes. Strange single then,

6) Codex
ahhhh, the swoon of piano. Treated of course, but lush, full piano chords nonetheless. A very soft blip pulls the rhythm along, like a heart's pulse. While some sort of shimmering bells glisten over and through the chords. This is the 'quiet one' then. The piano sounds like its sinking underwater, or floating just beneath the surface and Yorke's vocal is crystal clear in contrast. It seems that Nigel Godrich still lends a peerless subtlety to the band's sound and arrangement. Later, there's some sort of muted horn that doubles the vocal line and remains - like some sort of foghorn in the night. Then two of them, move in contrasting harmony around the refrain. It's a beautiful track, simple, but some tricky production - like a ballad in slow-motion. Lots of references to water, which probably triggers that equally aquatic sound. About four minutes in, and there's a shift in tone, some trilling strings enter the fray, just blinking gently underneath - moving the track back towards its solemn piano chords, before a small audio coda that sounds like static wind blowing through the trees before it's sped up to reveal birds tweeting and becoming the opening for the next track...

7) Give Up The Ghost
This seems pretty faithful to the version that Yorke first debuted in his solo show, using the same loop pedal to repeat the background choir hook, complete with the thud of the palm on the acoustic guitar and clear, bright chords, emphasising the two-chord pattern. After a verse or two, and a keyboard sounding like a harp is added, some deft arpeggiating that supports the guitar strum. It's all quite beautiful, some reverb on Yorke's main vocal, and more vocal parts added to the main hook, some dancing around the main line. It's that same texture-building, cut-up arrangement of the opening tracks but applied to a much more fragile track. But rather than rolling, this one does build. More and more to the sound, reaching its apex with the line "into your arms" there seem to be dozens of little vocal melodies echoing and flashing across the main guitar pattern now. It's beautiful, hypnotising even. Those voices fade away, leaving the guitar/harp/key part and some more skittering effects a la Like Spinning Plates. We've just found another favourite track.

8) Separator
A light drum breakbeat brings us in, an incessant piano note each bar, and some wobbly synths. Then a jazzy bass-line plucked by Mr. Greenwood - on a double bass. Very nice, very rich. Yorke's vocal has a light delay on it, playing against that repeated piano note. The combination of the upright bass and the light breakbeat has a distinctly jazzy feel, like something some old-skool hip-hop would sample, if it wasn't for those strange keys whistling about the place. This'll be interesting to see live, there's more self-sampling going on too, cut-up vocals and repeated key parts. The guitars start to enter, offering light trills and fleet harmonics. Think the guitar work of early Television or even R.E.M. at a more relaxed pace, this like Give Up The Ghost before it, is building. The guitars cease to pluck and begin to move in washes and waves.There's more colours filling out the corners, all the whle the drums and jazzy bass keeping the foundation steady, but light. The guitars start to descend in discrenible shapes as the bass releaxes into just emphasising the chord changes. A lovely end.

...but an abrupt one. Is that it? It's concise, that's for sure, at just under forty minutes. It's easily the band's shortest album. A few minutes shy of Pablo Honey, not a great comparison, but it's interesting that even after an almost four year wait, the band have settled for, what is by today's standards, a shorter album. To be fair, they've learned their lesson. Hail To The Theif came under fire for being too long, in reality it probably wasn't - in fact at the time, fourteen new tracks from one of the best bands in the world wasn't too much to take in - but it's length certainly ended up being a sticking point with critics. The point is that, it's not really too short, it's delightfully concise. But one can't help but wonder what was inevitably cut from the shortlist, will there be a second disc of material as there was the physical release of In Rainbows, or another release further down the line, such as Amnesiac was to Kid A?
First impressions are that it's a heavily textured album, it doesn't feel to have the variety of In Rainbows nor the thematic consistency of OK Computer, but these are early days. If the subtle production is anything to go by, and if their past work is any indication, there are plenty of secrets and treasures waiting to surface after multiple listens (and don't worry, there will be many). In short, it's a instrospective, subtle and, dare I say it, futuristic? You can almost imagine it being the kind of jazz-inflected, space-rock they'd play in a club of the future. Or dub-step for lovers of krautrock, or some other ridiculous configuration of genre labels, because in essence they've produced another album that is uncategorisable. Isn't that why they're so beloved of real lovers of music the world over? breaking down barriers and styles. To create something totally unique, you can probably tell from this post that all the callbacks to past songs and albums are the sole reference points for these new creations. But it's mellow and beautifully strange.

As I said before, with the arrival of In Rainbows, " The task of judging any new Radiohead release is a complex and tricky affair" indeed, so instead I'll leave the judging till later, when the album's had time to sink in. And to do that, i'm just going to pop off now and listen to it again.
Either way, today is a piece of history, new music from one of the industry's most compelling, individual, unique - and obviously excellent - creators is always an event worth noting. And the digital release means that there's a proper sense of anticipation and occasion about the whole affair. Thanks for being part of it, now go and make your impressions, cause that's what counts - and I suspect that's the aim of Radiohead's whole intention.

Radiohead - The King of Limbs is available RIGHT NOW!

Well, those Oxford scalliwags have gone and pulled another stunner. After only a few mere hours after posting a small handful of tidbits to sate the fevered anticipation for The King Of Limbs, I quickly log online to find that they've released the damn thing! With a video and everything ready to go - the cheeky buggers!

So, what else to do, but download away. I'd suggest three options at this point

This sugar pill

I was feeling horribly guilty about my last post when an e-mail arrived like a glimmering beacon in my inbox. 'Twas an opportunity sent from the world of Placebo to listen to their new album Battle For The Sun prior to its release. Granted, that's only two days away now, but No Matter! I saw it only as a chance to rectify my lazy posting with a live track-by-track account similar to my Bloc Party assessment.

But first, an introduction.

Placebo have been around for more than ten years now, and while they have flitted with the mainstream now and then they have been critically underrated. Generally, this is due to criticisms that the band have developed little since their 1996 inception, but I would argue it is precisely this familiarity, and variations on their own themes, that have led to their widespread popularity. Brian Molko's nasal snarl is one of the most distinctive voices in the industry, and their mix of edgy rock and po-faced introspection remains their selling point; unified by an aggressive energy across their catalogue. Their singles collection (2004's Once More With Feeling) proved they were efficient craftsmen of accessible rock, while remaining indebted to their gothic muse and while their albums are a string of consistently solid efforts, they have yet to create an unabashed masterpiece.

And so we come to Battle For The Sun. Which could conceivably be a minor rebirth for the band due to a combination of a three year absence since 2006's Meds and the first with new drummer Steve Forrest (after the departure of Steve Hewitt). David Bottrill (whose credits excitingly include Muse, Tool and Silverchair) lends production duties while the engineer from Meds, James Brown (don't even think it) returns. Touted as a darker, heavier affair it is also the band's first concept album (insert sound of inhaling shock). First speaking to NME Magazine, Brian Molko had this to say:

"I believe 'Battle' to be the first of our albums to tell a story over the course of its 52 minutes. Our previous releases were really only collections of songs and even though the songs are ordered according to the musical flow, I hope that if you listen hard enough to the words that some kind of discernible thematic unity will begin to emerge."

It sounds like an ambitious record and a welcome return from one of Britain's most unique bands.
But now it's time to see if that's really the case...

1. Kitty Litter
A few choppy chords and we're straight into it and lyrically, we're dealing with some customary themes, namely desire, in this case in the impressionistic object of Molko's affection, or should that be sexual lust?
Just before the finale the song breaks down into handclaps and drums with Moko intoning "I need a change/ I need a change of skin." Ironically, this track isn't it. Placebo have a history of great opening tracks, from their debut's scintilatting Come Home to Bulletproof Cupid on 2005's Sleeping With Ghosts, this however seems to break the run. It's Placebo by numbers.

2. Ashtray Heart
OK this is more like it, the song opens straight into a chorus, both in structure and in a mass of singers chanting something I can't quite decipher. We move to a quieter verse with a bouncing keyboard apreggiating in the background. There's a nice sing-a-long style pre-chorus before we return to that opening refrain. The rest of the track retains the same structure, save for a mild middle 8 section. It's not bad, but nothing special, perhaps an obvious single and thus it being so high in the tracklist.

3. Battle for the Sun
This track has already been heard by most, offered as a free download a few months back. Essentially it's very Placebo, which is to say it's reliably familiar in the same way the first two tracks are, but there's a rising ambition to it that sets it apart. A dissonant guitar line is built into a large rock workout, complete with a string arrangement to buff the main sound, the kind similar to a previous album cut like Song To Say Goodbye. It demonstrates new drummer Steve Forrest's new dimension to the band, giving them a bit of a kick in the more energetic moments and providing some interesting rhythms and sounds in the verses.
There's some ominous lyrics too, particularly the refrain of "Dream brother/my killer/my lover" as well as images of breaking bones and loaded guns. As the album's longest track it is given time needed to develop and grow, and surely will offer further rewards on repeated listens.

4. For What It's Worth
Chugging bass line and it's onward with the album, first verse "The end of the century/I said my goodbyes/for what it's worth I always aim to please/but I nearly died." Then into the biggish chorus, the second verse has some cool falsetto that sounds like backing female vocalists and some more strings sliding about. The second chorus curiously breaks down into what sounds like an elaborate ring tone or a video game twittering in the background, later there's even a spattering of horns. This contains some deceptively experimental moments in the course of its sub-three minutes. Very cool.

5. Devil in the Details
A blipping synth moves in a descending pattern against a low-end bass and some hissing hi-hat from the drums. The album's first curse is a ripper too, "He's a fucking pal of mine/that devil in the details." The chorus again seems to be fairly widescreen, that's not to say that Placebo haven't had a penchant for big sounds before; but there's a warmth and clarity to the kinds of choruses on this record so far that embrace space, as oppossed to previous records which favoured claustrophobia. A subtle difference, but interesting to note given this track's closing moments - they sound far bigger than three men.

6. Bright Lights
Speaking of oppositions... this starts with a bright, shiny keyboard part sparkling atop a wall of guitars. Reminds me of the first time I heard Starlight by Muse, a keening, yearning pop hook from a band who usually decried such casual approaches. So too here, with Molko comforting "No one can take you away from me" it's even a little reminiscent of Editors' brooding arena rock. It's three and a half minutes go by pretty quickly, finishing with a couplet of "A heart that hurts/Is a heart that works"

...can't believe we're at track seven already.

7. Speak in Tongues
Suppossedly Molko's favourite track on the album. An intriguing texture opens the song with a looped riff played by both upper-register piano and, I dunno, is that xylophone? It's a beautiful effect none the less. This pattern gives way to big chugging power chords which then give way to a lilting refrain with a breathy mass of singers. Again there's a lighter touch here that flys in the face of the jagged, rougher edges of previous records. At this point, i'd have to agree with Mr. Molko, the best track thus far.

8. The Never-ending Why
Not such a surprise then that it should be juxtaposed with a dark crunchy opening like this. Interestingly though it soon shifts to a brighter sound, again with a plinking part atop the melody (xylophone again I think). Around the two-minute mark there's some pounding emphasis on the chords that has some horns amongst the mix again. The last few tracks seem to be setting a new consistentcy in sound of a brighter Placebo, with a richer palette.

9. Julien
A dance backbeat and a throbbing bass changes the pace a little. To sidetrack for a moment, it should be mentioned that Placebo have a history of electronic dalliances on their records from. Here though it soon goes back to 'rock mode', a shame really it was starting to get interesting. Even more disappointing is that the violin part makes it sound like a retread of the title track.
At this point, i've heard little of the 'concept album' happening, i've been keeping an ear out but there don't seem to be any of the regular signifiers, characters or story-telling, of a concept album. Even the lyrics don't seem to have any recurring motifs. Perhaps there'll be a revelation to come.
...oh by the way all this digression from the track at hand is because it seems to be pretty derivative.

10. Happy You're Gone
Ah, do we have a ballad on our hands? Slower tempo, a marching snare drum and gently strummed guitar ....oh guess not, like Julien the interesting intro gives way to 'rock mode' once again, it's not bad, more a louder section that says 'we're at the chorus now.' It's a nice track otherwise, Molko's semi-whine has always suited itself to yearning, those strings rear their head again too.

11. Breathe Underwater
This sounds like old skool Placebo, i'm talking Without You I'm Nothing era here. Nothing more, nothing less. It's slightly faster in tempo and higher in aggression to what's come before it, an enjoyable addition to the tracklist.

12. Come Undone
A pretty restrained start offers another track to track juxtaposition but is yet again undercut soon after it sets its mood with a brash shift into alt-rock territory. It's not only a shame that this keeps happening on Battle For The Sun, but also a little confusing given the title tracks' structure lending it time and space to develop, something that these later tracks aren't afforded. Are we rushing to the finish line or something? either way, what starts promisingly shifts to a pretty average rock song.

13. Kings of Medicine
Luckily, the album finishes strongy with this, possibly Placebo's most interesting arrangement to date. All the elements that usually make up their sound are pushed to the background in favour of piano, acoustic guitars and a full-on horn arrangement. As its size expands so too does its symphonic appeal. In spite of the fretting, pessimistic lyrics "Don't leave me here to pass through time/without a map or roadsign" it's given an optimistic mood by the colourful clarity of the mix.

And there you have it...

Upon reflection, my first point has to be that is categorically, not a concept album, no matter what Molko says, this is not their American Idiot or even their Black Parade, in fact it's almost the opposite. It feels more like a collection of songs than ever before, there's even - dare i say it - some filler (in the shape of Julien and Come Undone). To be fair, this is after only one spin - perhaps the charms of the lesser tracks will reveal themselves upon further exposure. But as far as a unifying theme or story that ties the album together - no dice.

But In fact Battle For The Sun can only be called a disapointment when measured against the anticipation set up for it's unveiling. It's not a concept album - disappointing, new drummer Steven Forrest doesn't change the dynamic much - disappointing, there's no major development in their sound even with all those strings and horns - disappointing. There are however, other surprises to be had instead. Those horns and strings aren't a contrived inclusion into the group's sound but a rich addition - surprising; there's a brighter, spacier bent to some of these tracks - surprising; the ambitious desire for a concept record hasn't resulted in Placebo disappearing up their own backsides - very surprising.

So in summation, it's the kind of record that Placebo have always made, and while its lack of winning reinvention won't grab new fans, it won't really upset their current diehards either. It's what I pointed out was so good about Placebo to begin with, it's a comfortably familiar, reliably solid album and sometimes, that's all you need.

This is not the time to sign a lease

Well, it's been nearly 3 months to the day before there was any action on this space, and for good reason, i was putting on the funniest show in Melbourne! (www.thelawrevue.com) and it was a resounding success raising over $11,000 with all the proceeds going to the Starlight Foundation! Hooray!

Which means that pretty much everything else in my life took a back seat - including my fave blog, but what better way to get back on it than with a first impressions account of a new album from one of my favourite bands...


If this is all news to you, i wouldn't be surprised. Basically Bloc Party held a webcast on August 19th in which they, 'did a Radiohead,' spilling the beans on a finished and fresh to be released album - Intimacy. And no sooner than the 21st of August!

So basically it's available for order now from blocparty.com so if you've got any sense you'll go buy the download and pre-order CD for AU$21, with the CD to ship by Oct 27th - which is presumably when the physical copy will be available in stores. So what are you waiting for, go get it

So now that you've secured your copy or perhaps still waiting to decide - whatev - let me press on, my download finished mere minutes ago and i'm listening to the ten brand new Bloc Party tracks as i write this to you now. So without further ado...

1. Ares
Named after the Greek God of War and surprise, suprise the opening salvo is a whinging shout of "war, war, war" as a crowd of Keles give a wry state of the nation address over some buzz-saw guitars and a drum break highly reminiscent of Chemical Brothers' 'Let Forever Be.'
At around the 2 minute mark it breaks down into a quiet breathing section where Kele hums angelically, but it doesn't last for long before what sounds like a looped manic scream kicks the main riff back into the end.

2. Mercury
You've probably heard the lead single by now, and it's as big a leap from Flux as that single was to the A Weekend In The City material, and since this is still my first listen through - i can't 100% guarantee that it's indicative of the album as a whole - but it's still a ripping dance track - particularly when those malicious horns kick in. Kele's really enjoying the manipulation of his voice too. Love it or Hate it - this is the new Bloc Party sound.

3. Halo
Aha the first taste of what the press release was hinting at when it
said "some songs are Bloc Party at their most wildly experimental,
while other tracks are simply classic Bloc Party, fitting in seamlessly amongst fan-favorites "Helicopter," "Banquet" and "So Here We Are"
And so it seems here - duelling guitar lines over a rolling drum beat. It sounds very Helicopter on initial listen - and more lyrics of yearning from Okereke - talk of lips and fingertips over Silent Alarm style riffage. Nice.

4. Biko
The first sign of a slower number as a looped guitar appergio fills the air, and Okereke's falsetto soon follows. I think i just heard a reference to "the river Styx" - the river to the underworld, along with Ares and later track titles it seems Mr. Okereke has been reading up on his Greek mythology. After a few verses a heavy bass opens the gate to a programmed drum track. It's clear that
Jacknife Lee's influence (one of the producers along with Paul Epworth who did the band's debut) is all over this - a slow-building number with electronic leanings.

5. Trojan Horse
For the really impatient - this is available on the band's MySpace (and contains yet another reference to Greek Mythology). It sorta feels like a sequel to Hunting For Witches, a rabid guitar line against a drum and bass part. Great opening lyric too, "you used to take your watch off before we made love/you didn't want to share our time with anyone." Later Russel Lissack offers a ripping guitar solo which pushes Matt Tong into overdrive- a trick repeated towards the song's climactic finish. The album's title, Intimacy, seems to become it's theme too. Lyrics so far (from what i can catch) are about unrequited love, yearning or lust for others, and the resulting frustration.

6. Signs
Now this is interesting. A clutter of what sounds like xylophones, wind chimes and glockenspiels in interesting textures before some subtle synths form the harmony underneath. In a word: twinkly. Like Biko a few tracks before it's a nice respite from the heavier and more energetic sound of the album so far. Kele offers a delightful melody that soars lovingly over the musical backdrop. Much like Mercury B-Side, Idea For A Story, this reminds me of mid-90's Bjork. A soft bed of strings adds to the texture before it winds towards its close.

7. One Month Off
Kicking straight back into a powerful drum line and some industrial sound fx before a choppy riff cuts in over the top. Stop-start guitars make up the chorus - slightly reminiscent of Banquet and the breakdown of Uniform, a cool little synth embellishes the second verse. The chorus offers a challenge "I can be as cruel as you/i can fight fire with firewood," before descending into some tricksy time signatures and electronic ornamentation- think Hunting For Witches' cut-up intro. The breakdown at the end gets all Silent Alarm before getting really Weekend In The City. A nice balance.

8. Zephyrus
Named after the Greek god of Wind (see a pattern yet?). A cooing loop and some faint yelling take the stage before a thumping bass track take over as Kele's familiar yelp swings in again - so far so Radiohead. The rhythm track builds with clicks and snaps. The chorus brings in some washes of synths and keyboards sounding a bit Where Is Home? followed by a choral/mellotron breakdown who then punctuate the second verse. This is sounding very cool and slightly grand. Particularly because the choir aren't going away. Feels like we're building to somthing HUGE. It doesn't quite hit its peak but very haunting none the less

9. Better Than Heaven
An airy vocal wafts over a distinctive dub feel in the bass and drum part - sounding a lil' like an update of Price of Gasoline. Soon enough some buzzing synths, extremely bassy piano and twinkling guitar fill out the sound. Some chanting like lyrics too that swap between speaking and singing, "Much too, much too typical/much too much too." We're about a minute and a half from the end and the full band kick in - very cool as they race against a competing electronic part, but that dark, brooding texture remains.

10. Ion Square
The longest track on the album by a good minute or so, and intially it sounds a bit like I Still Remember, but with insistent and repeated guitar/piano chords. Some straight 4/4 drums build a chugging pattern, but the overall feel is a glossy ballad - with all the trimmings - the length ensuring a steady momentum.

Well there you have it.

Firstly, I think this is going to a bit of a grower, and while much of the heavier sound and faster tempos create an immediate energy - there's some subtler textures and tweaks here and there - not least Kele's voice being manipulated into strange configurations on a couple of tracks.

As a progression from A Weekend In The City - it's probably not as radical a departure as Mercury suggested - but it's a departure none-the-less, there seems to be an attempt to fuse the Silent Alarm dance-rock textures with AWITC's electronica and experimentation, though i have to confess it sounds more like the latter on the first spin. Using both Paul Epworth and Jacknife Lee on production duties cements this idea, though without full credits it's unclear as to who's doing what.

Still in context it's amazing that this four-piece were unheard of five years ago, and are now really attempting to do something special with their musical direction and career as a whole, while the distribution technique is becoming a little unsurprising (NIN, Sigur Ros, Girl Talk etc.), it's still a big risk and a brave advancement from any band. And such a productive rate - their third album in under four years - including those between album singles (Two More Years, Flux, Mercury).

Overall this is still one of the most interesting records I've heard yet this year. But then again, there have been more than a few...

...i'm of course hinting to higher productivity on Al's Music Rant from now on.

Watch This Space.

Big Ideas (Don't Get Any)

....ok i'm publishing this one at an early hour because i've just finished listening to Radiohead's new album, IN RAINBOWS, for about the seventh time. Needless to say, its amazing, i mean come on, the Oxford five piece are the greatest musical group walking the planet. But i soldiered on and tried to write a review anyway, i've submitted this one to The Scene so expect it to appear soon, but i thought i'd double up just this once, consider this version the "Director's Cut" (eg. longer, more indulgent). Ok strap yourselves in.

RADIOHEAD - IN RAINBOWS (available at inrainbows.com, 2007)
The task of judging any new Radiohead release is a tricky and complex affair. Some things are inherent: it won’t be for everyone and comparisons to their contemporaries will be slim, but all factors are exacerbated with the digital hype of In Rainbows.

By handling the album’s release themselves as a download, and in an unprecedented move also allowing the consumer to set the price, the album’s imminent unveiling has caused a stir within the industry; opening debate on topics such as the future of record labels and even the value of music itself. (for more info check out I'm Guess I'm Floating)

Emerging from the media furore are ten songs, the majority of which will be familiar to fans, having been kicking around on various bootlegs for over a year. Indeed album highlight “Nude” (previously known as the title of this very music rant) dates back to 1998, but all previous formations were merely groundwork for the finished, very polished, product. The band have certainly taken their time, its been four years since HAIL TO THE THIEF, and anticipation for new music ever since, has been, as always - fevered.

First track “15 Step” takes its time to hit its stride but once it does, it’s as exciting an opener as “Airbag” or “2+2=5.” Second track “Bodysnatchers” keeps things rolling along with some crunchy guitar work, and one of the few rockers to be found here. "Jigsaw Falling Into Place" comes close, but there's nothing as violent as "Myxamotosis" or "Electioneering." It would seem all the glitch techno/electronic leanings have been expunged through Thom Yorke’s solo project of last year as things have softened in the world of Radiohead. Once again Nigel Godrich provides a rich veneer in his production work as the album’s tone is best described as lush, warm and spacious.

It’s fascinating to think the same group who produced such edgy, polarising work (insert Kid A cliché here) is capable of such calming arrangements such as those found here. “All I Need” is truly sumptuous, while “Weird Fishes/Arpeggi” is as aquatic and dreamy sounding as its title would suggest. "Faust Arp" could be described as a guitar ditty, reminiscent of Nick Drake even, while "Reckoner" and the aforementioned "Nude" take the balladeering of HTTT's "Sail To The Moon" as a blueprint and build wholly new and starry configurations. "House Of Cards" interestingly contrasts a bluesy acoustic with Jonny Greenwood's fuzzed out histrionics. All the while, Thom Yorke’s crystalline falsetto providing cohesion across the album.

Lyrically, Yorke pursues his curious, cryptic vein with flashes of political intent (like those of THE ERASER) but nothing too much has changed with the band's wordplay. "All I Need" is an undisputed highlight as Yorke honestly compares himself to animals trapped in hot cars and second acts waiting in the wings. He again manages to balance strange, visually dominant imagery with any musical style his peers can conjure up musically.

Guitars are more prominent this time too, be warned that this isn't The Bends 2 that some have been fawning for, but usually of the jazzy/laidback variety in combination with piano, lilting harmonies and soaring strings. Ed O'Brien provides excellent counterpoint, while Jonny Greenwood's moonlighting as a composer have obviously fuelled some of the stringwork here, all with a focus to that overall soothing tone. The ever brilliant rhythm section of Phil Selway and Colin Greenwood, thankfully keep things from getting too airy.

Every cut builds in layers that blossom and reward with repeated listens and while its still a stretch to label it ‘radio-friendly,’ the band have truly reigned in any indulgence, keeping most tracks to a lean running time, and the total only just nudging past 40 minutes.

On its own merits, without the artwork or even a planned second disc, IN RAINBOWS could be simply part of a bigger picture. Is this one half of a double album missing its twin? Or perhaps the second CD will be merely B sides. It’s hard to tell, but what is here is another creatively compelling and strikingly beautiful work from a band who always redefines what a classic album is and should be.

...So yes, its a Five Stars, Two Thumbs Up, a full ten, whatever you want to call it. In a way though, to use a cliche, it has kind of thrown up as many questions as it has answered. How will it affect sales of the physical CD for instance? Regardless, its concerns like this that keep Radiohead such a dynamo in the oft-stagnant music industry. Album of the Year? Maybe, i'll reserve full judgement 'till the second half.

My usual formatted list of suggested songs has been sullied since there's been naught passing my ears except In Rainbows. So instead,
PLEASE WRITE ME YOUR COMMENTS ON THE NEW ALBUM, I'D LOVE TO HEAR (AND MAYBE) COMPILE THEM.

Stay In Rainbows,
Al