.co.uk
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Its very likely that even if you havent heard the
contents of Radioheads seventh album, youll be aware of its
existence. Released as a digital download by the band themselves
before a CD release was even considered, In Rainbows was lauded
for innovation before a note of music was heard. Luckily, the
music matches the hype--it takes the best part of Radiohead's
previous works and advances the formula even further. While the
opener "15 Step"--all skittering drum patterns and dub-style
bass--may hark back to the electronica of Kid A, the sound soon
gives way to a more guitar-based sound. Whilst not as musically
heavy as previous albums, the tunes are far more focused and
passionate--"Bodysnatchers" is based around a hypnotic, distorted
bass riff, while the beautiful string-drenched "Nude" is a true
Radiohead classic. Lyrically, like Thom Yorkes solo album The
Eraser, the lyrics are sketches of suburban paranoia, and the
eerie sense of things no! t being quite right. This is especially
true on the piano-based closer "Videotape", which poignantly
details a man watching his lifes achievements in his final
moments. In short, In Rainbows is another masterpiece from the
Oxford quintet. --Thomas Allott
BBC Review
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The good news: With In Rainbows Radiohead may well
have created their own Physical Graffiti. Drawn from over 10
years of sketches, outtakes and live renditions that finally get
nailed, it's a veritable summation of everything you love about
them - from rhythmically challenging jazz funk prog to droning
repetitive exhumations of the socio-political conscience (rock
'n' roll!phew). Of course it's ironic that the band has finally
released what to many fans will be the true heir to OK Computer
as what is ostensibly a freebie. Their new marketing and
distribution model may be making a mockery of conventional
business models, but it's also making a mockery of the critic's
job too. How to sum up what is obviously a MAJOR work after just
a morning's worth of plays?
In Rainbows proves, once and for all that Radiohead still have
the will and desire to not just weird us all out, but to make
achingly, desperately beautiful music. Beginning with some of
that familiar Warp-inspired glitchiness, opener, "15 Step"'s
children's voices and odd-meter clapping is astoundingly
uplifting. "Bodysnatchers" is the kind of crunchy guitar rock
that we'd all given up hope that they'd ever record again and
"Weird Fishes/Arpeggi" takes Johnny Greenwood's orchestral piece
and turns it into a chiming thing of post-rock wonder. Already
they've made you feel guilty for not donating more money for your
download!
Every song's nuances are exquisite, but problems do arise when
you try to get inside the lyrics. Sometimes In Rainbows seems
almost wilfully mixed to obscure Yorke's words. Like an early Can
album, little dislocated phrases or repeated mantras jump out.
Shorn of context and usually sung in a slurred delivery that's
become more pronounced, this can have a deeply (and one suspects
deliberately) disturbing effect.
However themes do emerge: One being the surprising inclusion of
several songs about 'relationships'. But while the opening line
on 'House Of Cards', ('I don't want to be your friend, I just
want to be your lover') may have you worrying that Thom's turning
into Prince, this is still Radiohead we're listening to. "All I
Need" is a string-drenched song of desire and dependency, but
comes equipped with lines like: 'I'm the next step waiting in the
wings. I'm an atom bomb trapped in your hot car', How utterly
romantic.
So, big sighs of all round. In Rainbows is the sound of a
band who effortlessly straddle the avant garde/popular divide,
and also sound like they actually enjoy being themselves again.
They're back at the top of their game. Now go back and pay some
more, all you 50 pence donators. This is a band that needs all
the support we can give them. --Chris Jones
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