One cannot help but ponder what kind of game Radiohead is playing with the music industry. On one hand, the band refused to play their first mega-hit, "Creep," for years because they did not want to be defined as a one hit wonder.
Now, they have told Spin magazine that their third release, "OK Computer," an album that blew away the music industry in ways that can only be compared to Sgt. Pepper era Beatles, was boring and that front-man Thom Yorke didn't even enjoy playing the songs live. By rejecting the praise of the industry and their legions of fans, it appeared that Radiohead was trying to shake off their popularity by any means necessary.
Their following two albums, "Kid A" and "Amnesiac," aided in this goal by offering dissonant songs full of unnerving melodies and scattered electronic beats. With the drastically lower sales of the entirely un-promoted "Amnesiac" it seemed that Radiohead had almost completed their task.
Strangely enough, Radiohead is promoting their newest record, "Hail to the Thief" like they actually want people to buy it. Could this be because they are finally prepared to accept some praise for their work? Or will they prove my theory correct and wait for "Hail to the Thief" to become popular, and then once again get angry and run away into electronic escapism?
Whatever the case, "Hail to the Thief" is solid. The album kicks off with "2+2=5," a strong opener that begins with the buzz of a cable being plugged into a guitar, a noise which silences the fears of every listener who was afraid that "Hail to the Thief" would be yet another electronic divergence. Following the introduction, the song continues with Yorke's voice meandering through a dark melody overtop of a slightly distorted guitar that's tone can only be described as under-drive. The sigh of relief breathed over the use of the guitar can only be matched by the one released when the real drums kick in. "2+2=5" swiftly changes from the soft and melancholy beginning segment to a dirty guitar and bombastic drum rock out.
Although the album does contain some electronic drum elements, they are much more tasteful than those used in "Kid A" and "Amnesiac." Usually the electronic drums can be found in the beginnings of the songs and are then replaced by a real kit after the song gets going.
The second song, "Sit Down. Stand Up" follows a similar format to the first, beginning softly and climbing to an intense conclusion. After a lengthy buildup, the song jumps into an unconventional drum and bass segment where Yorke repeats the phrase, "The raindrops," a full fifty-one times before the song abruptly ends.
The following track, "Sail to the Moon," is highly reminiscent of the latter part of "OK Computer" in the way Yorke's dreamy melody slowly drifts along in a landscape of piano and clean guitar. My only qualm with this song is that it comes so early on the album, and delivers the feeling that the album should be ending when it has just really gotten started.
Overall, sequencing is the album's biggest flaw. Besides "Sail to the Moon" being too early, the last four tracks come too late. Each of these final songs possesses a unique energy that should comprise a strong middle section to the album. As it is, the middle section contains the album's weakest tracks that might seem more appropriate if they were towards the end. Drifting along with no specific chorus or verse, songs such as "We suck Young Blood," "The Gloaming," and "I Will" are reminiscent of the weirdest progressive rock songs from the seventies. These prog-rock-esque divergences do little but drown the listener in dissonance before reaching the beauty that lies in the end.
Fortunately, none of these songs are totally without redemption, seeing as each one contains a moment or two where the band gels to form some sort of coherent musical thought.
The first single from the record, "There There," also contains a progressive sound as it constantly changes moods and never looks back on where it has been. This song, however, is much easier on the ears than some of the others because everywhere it goes is interesting and soothingly catchy.
Overall, the album shows further growth from Radiohead in a direction that many listeners will cherish if only for its return to conventional musicianship. Whether or not Radiohead will hang around in the rock genre for long is not certain, but it might help if critics did not celebrate the album as they did with "OK Computer." If every music columnist would give the album a mediocre review, then maybe we all will hear more great records from a band that clearly does not know how to take a compliment.
Read More
It’s okay not to be okay
By Mai Hukuoka | 2 days agoWhether talking to a friend, a loved one or a professional, it is so necessary, and human, to need more than you can provide for yourself.
Taking a break at Tangerines Kitchen
By Charley Thomas | 3 days agoWhat the restaurant somewhat lacks in ambiance, it compensates for in tasty dishes and prompt service.
Virginia Policy Lab — a hub for student-led policy action
By Katherine Haden | December 9, 2024Students propose their own projects and collaborate with other members to research their issues of interest, brainstorm solutions and write policy proposals.
