It's been 3 months since I last blogged, with only Polica releasing anything of note that I have enjoyed as much as Daughter & Hinds so far this year. That was until the 3rd of May.
Radiohead's unique strategy of releasing albums I find incredibly exciting. It may not be for everyone, but the marketing ploys and mystery that surrounds a Radiohead release is captivating. Especially for the hardcore fan. Who else sends creepy 'We know where you live' flyers to their fans?! I will never forget waking up on a rainy day in February 2011 and discovering the King of Limbs was out. No teaser's. No anticipation. No pre-warning. In reflection, I overhyped that album. Probably purely down to my over-excitement that a follow up to one of my all time favourite albums - In Rainbows was out.
This time Radiohead gave away a few signs things were afoot. The deeper you dug, the more you would find. The deletion of the band's social media footprint was of course the most obvious sign something was coming. Perhaps less well known was the fact that Colin Greenwood followed something similar to: 'Has it leaked?' on twitter. Pretty big spoiler there Colin. A few days later, after a couple of clips from the stop-motion video, 'Burn The Witch' was unveiled. Many things stand out from this track. Jonny Greenwood's string work being one of them (as it is throughout the whole album). The twitchy, fast paced strings really create a frenzied tempo. Something that I thought was missing from the King of Limbs but mastered within In Rainbows. However, my favourite element of Radiohead has always been Thom Yorke's vocals. I'd pick that above anything, including the early day guitar work of Jonny Greenwood. The vocals on 'Burn The Witch' are as beautiful as ever.
A few days later, 'Daydreaming' was released. I instantly fell in love with this song (and the video, directed by PTA. Who worked with JG on There Will Be Blood). A throwback to the Kid A / Amnesiac era, with yet more flawless vocals from Thom Yorke. A classic post 2000 Radiohead song, with numerous vocal effects that have become accustomed to the band being used throughout. The track evolves from a gentle piano ballad, into an eerie, claustrophobic finale. It is hard for me to think of another artist who can create such an atmosphere so effortlessly. Jonny Greenwood's cutting strings (I say his, because it is clearly his recent work being fed in) fade in and then out, with great impact.
So two songs were out. The album was on the way. Roll on Sunday 8th May!
As soon as possible after 7pm, I grabbed my phone and began streaming. 'Decks Dark' was next up. A song that for me could come straight from In Rainbows. The mix on this track is a beautiful thing. A familiar Radiohead groove is in full swing by the 2nd verse with the bass and keys. A nice extra is the inclusion of a the London Contemporary Orchestra Choir, who pop up a few times along the way in the record. I might be wrong (sorry), but this is new ground again... but another triumph. These new elements aren't just thrown in. They are well crafted, used at the right times and not over done.
A further highlight arrived with 'Glass Eyes'. The combination of orchestral strings and Thom Yorke's stripped back, bleak vocals really works. It sounds like something off a soundtrack. Another sign Jonny Greenwood's work is shining through. It is clear at this point, that the band's separate directions for the last few years have influenced this album. 'Identikit' is next, which I actually saw live in 2012 and enjoyed. This version is far better however. Again, the vocals really take centre stage for me, with Thom Yorke wailing: "Broken hearts, make it rain" before the choir take over with the backdrop of shimmering synths and Jonny Greenwood's guitar hook. Yes, that's right. The electric guitar was well and truly in the skip for the King of Limbs, but here it is elegantly slotted in. Each instrument is treated equally on any piece of Radiohead music these days. The twangy solo at the end is no paranoid android, but it's sure to raise a smile for diehard, old school Jonny Greenwood fans.
'The Numbers' follows. Another highlight, and the one track that sums up the album in it's entirety. The ever so subtle build up of tempo here is absolutely gorgeous. Slowly it builds, and by 3:32, this relatively tranquil track is injected with more erratic strings that bring it to an incredible finish. Again, the blend and mix of everything happening here is a joy. The production in general for this album is pretty perfect.
'Present Tense' is another that could fit quite easily on In Rainbows, with it being reminiscent of 'Jigsaw Falling into Place'. 'Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief' is a string/orchestral heavy song that perhaps wonders ever so slightly. I think the elegant timing and precision up until this point in regards to the strings is a real asset to the end product, where here it just meanders a fraction. Having said that, I still like the track, especially the serene opening two minutes. Another one that sounds like it is straight out of a film score.
The closer is 'True Love Waits'. A well known song to any Radiohead fan from the early days. Finally recorded (after several attempts down the years) and placed within a framework that the band felt was 'home' for it. 'I'm not living, I'm just killing time'. A heartbreaking song, sung with such sorrow.
Overall, the album blew me away. I think the impact of Jonny Greenwood's orchestral work has had a huge effect. It is incorporated perfectly, without over-emphasis placed on it. It's still classic Radiohead, but with a twist. After all, that's what Radiohead do. They evolve, stay fresh, stay innovative and strike gold every single time.
9/10
Here is 'Daydreaming':
Here are some other album ratings:
YAK - Alas Salvation 7.5/10
Polica - United Crushers 8/10
James Blake - The Colour in Anything 7.5/10
Frankie Cosmos - Next Thing 8/10
