Pretty big day, huh? Now that it’s been 15-or-so hours since the In Rainbows Premature Evaluations have been rolling in and we’ve all had a little time (literally) to keep it on repeat, let’s dive in.
After a day of spins, we can say this is the record we wanted them to make — or at least, it’s the middle-of-the-record we wanted them to make; everything from “Nude” through “Reckoner” is warm, organic, and instant classic. Less paranoid — or focused on paranoia — than recent past. Yeah, most of the album’s been making setlists for a long while — so the focus shifts to their studio mastery. All you need is a listen of “All I Need,” and the way that crash cymbal’s mic’d in the ride-out: successfully heart-grabbing, but in a lesser band’s hands it’d sound bathetic. (And, fun game: listen to “All I Need” after a spin of Boards Of Canada’s “Roygbiv.”)
“Faust Arp” is a highlight. Dig the juxtaposition of jilted fingerpicking/polite orchestration with a sing-song chorus robbed of any anthemic qualities by Thom’s exhausted vocal style. Between the balladry and “Wakey wakey rise and shine” … almost like he’s operating in homage to Lennon/McCartney. Of course then he starts singing about plastic bags and squeezing tubes.
Pretty cool that one track sounds like Boards of Canada and the next Nick Drake.
Smitten, sure, but it’ll take a little more time to come to solid conclusions about where this stands in the canon, etc. Thankfully, very few of you seemed to have that problem last night/this morning. As for your reviews: Lots of complaints about the sound quality, lots of complaints about how they arranged “Videotape,” and lots of “best. album. ever”-ish love — and overall, lots of great thoughts.
So now that we’re 300+ (and counting) comments, here’s a not entirely representative cross-sample of your reviews, sometimes snipped for brevity, always context retained. Enjoy.
First! Mega thread!
Posted by: Sean Johnston at October 10, 2007 3:01 AMIsn’t it stunning how this band just never stops growing?
Posted by: Verlaine at October 10, 2007 3:42 AMIn Rainbows is so two hours ago. I’ve already moved on to Hole’s Live Through This. Paid $9. Worth $10.
Posted by: Airica at October 10, 2007 3:56 AMI know how significant “OK Computer” has been and nothing will likely top that; however, this is probably the best Radiohead album I’ve heard. This is after being a fan for fourteen years. The changes on these songs are mind-blowing. I don’t think an album like this would get the recognition I anticipate it receiving had they released it the old fashioned way. Truly genius album, statement and marketing approach.
And if Stereogum doesn’t put this up in the updated post, then… well, I now own “In Rainbows”, nothing else matters.
jar
paid: $20
worth: priceless
Posted by: jar at October 10, 2007 4:58 AMThere was soul, there was groove, there was crunch and punk and dirt, but not too much schizophrenia. No one-two freakout punches….which is unexpected……and utterly Radiohead.
From the moment I saw the artwork…I knew I could not expect a thing. Just accept.
It seems, with this album, they took the longest, most arduous path to creating some of their most embracing and inviting music. Not to demean it or the quality in any manner, because I hear the toil in every note and arrangement, but it is very warm music. A Radiohead tea-party.
This is pop-music at it’s supreme manifestation.
Love.
Posted by: Nicolas at October 10, 2007 5:16 AMim surprised everyone likes it so much – must just be the hardcores that stayed up late. it generally sounds pretty, but thom, as a songwriter, is pretty irrelevant now. I suspect most people like this because its a radiohead album, and not because its a good album. none of these songs grabs me emotionally except nude, which is a song ive known and loved for so long now that, while having a new recording is nice, its almost like hearing a remix of an old favorite song. i read someone said its a relationship album, which may be the best way to describe this. but thom’s not the guy for relationship music – his persona, brain, and voice are way too abstract and left of center to be able to make songs titled ‘all i need’. ‘nude’ for example is quite an anti-love song – its dark and lonely which makes it good radiohead material.
Posted by: Chris at October 10, 2007 5:40 AMBest album of the last 2,000 years.
Posted by: Cherry Ghost at October 10, 2007 7:14 AMreally? no one is going to say it?
this album isn’t that great. some of the songs are pretty great, but the fact that they RUINED “videotape” sours the entire listening experience for me.
so, for those counting, they recorded “motion picture soundtrack” and “videotape” both completely wrong compared to live versions, and both were the final track. i’m hoping they don’t mess up “4 minute warning,” since that’s the closing track of the 2nd disc of in rainbows.
also, this came out a lot more mellow than i thought the CD would be. “reckoner” used to be a giant rock song, and while the revision is still good, it doesn’t rock like i expected. “jigsaws” and “all i need” are probably my favs on the disc.
i’m now hoping that the second disc will be a bit more aggressive….bangers n mash, etc. but all in all, this first CD has too many slow songs and sounds more like demos than final versions.
and man, i hate “house of cards.”
Posted by: holmes at October 10, 2007 7:24 AMwell I’m 31 and I was like a little kid at christmas at about 4am, but I feel asleep, woke again around 6am and downloaded it,,I actually thought about calling into work, just so I could listen to it over and over without being disturbed, but my other half wouldn’t be to happy about that…
Posted by: philly808 at October 10, 2007 8:31 AMDoes Radiohead have a paypal account for fuckers like me who feel guilty for paying £0.00 for this album?
Posted by: Barry at October 10, 2007 9:19 AMseems like the only people that don’t thoroughly enjoy the album are the ones that heard the songs live….i have never listened to the tracks live…so i had no idea what i was going to be getting myself into. and i’m glad i didn’t because it was an amazing listen the entire way through. no disappointments at all….maybe now i will check ou the live tracks and see all the fuss about the ending of videotape…but even when i do. i won’t be disappointed. because i’m already crazy about the record as it is.
Posted by: pj harvey at October 10, 2007 9:32 AMIs it just me, does anyone really like the fact that this way of releasing an album makes the whole listening experience much more communal and egalitarian?
We’ve got no reviews from elite publications to go on, and at this point early in the game everyone’s take on the album matters and is interesting to read. I don’t know if releasing it the traditional method would’ve garnered such a lively discussion.
Anyway, today is a great day for music lovers and people who like talking about music.
Posted by: Chris D. at October 10, 2007 10:22 AMwe got radiohead .15 seconds ago and here’s our review, NOW!
Posted by: The Playlist at October 10, 2007 10:28 AMinoffensive, pretty, kind of boring but not bad.
i paid $0.00. a fair price, i think.
Posted by: Al at October 10, 2007 11:06 AMReading through these posts, I can only think of one thing: All you people need to go to sleep.
Posted by: Matt at October 10, 2007 11:15 AMGive the newer stuff some time to grow on us and it’s probably another classic. It really feels like the White Album to me because it strips everything down but swaggers more than ever at the same time. Now watch Pitchfork shit all over it just because they can.
Posted by: trip fontaine at October 10, 2007 1:43 PMSo… we’ve decided it’s better than the new Bloc Party?
Posted by: Greg at October 10, 2007 2:22 PMI’m rather pissed off at those people who were boasting about getting the download by offering $0.00, and now they’re complaining about the bitrate being less that CD quality.
Here’s an idea: buy the damn record.
For cryin’ out loud, illegal downloading has turned people into friggin’ idiots.
DwD
Posted by: Dw Dunphy at October 10, 2007 4:54 PM
Really wish #1 Blogger was in action on this one.
Also, our friends at Gothamist scored a coveted interview with Jonny Greenwood this morning, getting him to chat about In Rainbows. Jonny explained the motivation for the online release:
Just [wanted to get] it out quickly. It was kind of an experiment as well; we were just doing it for ourselves and that was all. People are making a big thing about it being against the industry or trying to change things for people but it?s really not what motivated us to do it. It?s more about feeling like it was right for us and feeling bored of what we were doing before … It?s just interesting to make people pause for even a few seconds and think about what music is worth now. I thought it was an interesting thing to ask people to do and compare it to whatever else in their lives they value or don?t value.
Read more here.
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Yeeeaaah, I haven’t downloaded it yet! I’m even going to wait *a day*. Or two.
Kanye’s Graduation > this multicoloured spectral disaster. No wonder Radiohead released this at a despicable 160 kbps, I don’t need to hear Thom Yorke’s odd crooning of random polysyllabic words over blips and beeps, thank you very much.
Indie memes, LAWL:
http://contempblog.blogspot.com/2007/10/before-night-owl.html
let me preface this with the fact that i have been ardently following radiohead since 1996 at roseland… i think in rainbows is their best work since kid a (as an album). there were some better tracks on httt and maybe on amnesiac, but this is the best album. i too am disappointed by the new videotape – but you have to admit- it is pretty darn good. don’t love reckoner and house of cards (think they didn’t do that one justice). do love nude – not as good as it was a long time ago but better than on the last tour. if this was anyone else we would all be going nuts about this album but because we always compare it to the iconic okc and kid a we are always left to want a little more. i for one am happy. and i think the second disc will be just as good – wish down is the new up made the album. this album is simpler, more direct and more genuine than any other in their canon and those facts set it apart. it doesn’t need to be another okc or kid a. in rainbows is pretty damn great by itself.
whoever posted on the premature evaluation at 3:42, you got cited by the canadian news!
http://canadianpress.google.com/article/ALeqM5hEImzeKkcD0P1cMBnO0Xapz6TgxA
Dear readers, please help me. I can’t seem to figure out how to download it! I got to inrainbows: it asks me for username and password. ?? Radiohead.com gives me dead ends. Help!
Alice, same problem for me. I didn’t preorder but I’m ready to download it now. Was it a preorder ONLY deal? That seems odd.
yeah. nude = win. videotape = win. arpeggi = superwin. House of Cards = EPIC FAIL.
also RH is known to love BOC. Of course Roygbiv is an influence. its grade A BOC and dr tchock hearts it aplenty.
i know this is dumb, but im really curious as to what the fork will say. i already have my opinion and it won’t change (i absolutely love the new album-fits perfectly between ok computer and kid a in the grand scheme of things), but im wondering why they’re waiting til next week
I have not been able to get the album.
I go to inrainbowsdotcom and get login and password. I DON’T HAVE EITHER and there is no message or information about what to do about that.
SO,as a result of spending HOURS trying to find a way to get it, I can’t WAIT to pay a symbolic 2 cents to let them know HOW STUPID this whole process is.
I would rather pay 20 bucks for a regular cd or 10 bucks on itunes that fool around with this login crap.
That’s my 2 cents.
Yeah, the inrainbows.com login mentions maintenance, I’m assuming they’re a bit overwhelmed. Guess us less rabid fans will just have to wait a bit more.
“Anyway, today is a great day for music lovers and people who like talking about music.”
well said.
I pesonally love the album, vie been a fan since ok computer came out…i ahve vague memories of watching paranoid android and karma police’s video on the tv with my brother…but I think this album is awesome :]
Pfork and any other critic should take some time to write a review of the album, not 15 hours to give first impressions like everybody has done in the comment section here and everywhere. Everybody is excited, so how to tell if it’s not only that? I’m listening and enjoying it, but I can’t say it is better or worse or whatever. So we’ll see…
Finally found a link via the Radiohead message board with the zip file:
http://boards.radioheadlp7.com/cgi-bin/YaBB2/YaBB.pl?num=1192050081;start=all
But seriously – I am a die-hard fan but I guess I didn’t pre-order… and just because I’m not at a computer until the evening I can’t even get the album? Disappointing.
Try it again, I tried an hour ago and was prompted for a password. I just tried it again and got right in and got it downloaded. I’m gonna start listening now.
I tried downloading it but it said the folder was corrupt! now it wont let me redownload!
Personally, just given the album a spin (well, figuratively speaking)… early favourites (emphasis on EARLY, it’s probably too early to tell) would have to be the long-awaited “Nude”, “All I need”, and “Jigsaw”…
Oyendo Videotape del album In Rainbows de Radiohead me conecto con algunos temas del album OK Computer de 1997, el album que talvez mejor refleje un estado de sicodelia depresivamente nostálgica o, para ponerlo en términos de éxito y prestigio, talvez el mejor album de Radiohead.
Tendré que oir estas canciones varias veces, como sucede con la música que logra hacer un registro en nuestros cerebros, para luego concluir si es efectivamente una continuación coherente de OK Computer, un trabajo definitivamente nuevo o apenas un trabajo musical más.
En todo caso haber comprado In Rainbows me lleva a compartirles varias cosas. Es la primera vez que compro música que llega por entre un cable, es la primera vez que no recibo la caja, ni la cubierta con alguna historia o ficha de producción y es la primera vez que pago lo que quiero por el producto.
Radiohead anunció la venta vía Internet de su album In Rainbows en las semanas pasadas. El proceso consistía en meterse al sitio www del grupo, registrarse como comprador, insertar el número de la tarjeta y esperar el envio de un archivo de 47 MB. Y así fue. Hoy, en mi correo, me esperaba mi primera compra musical totalmente electrónica, la cual me costó 3 libras y 45 peniques, o en dólares de Nueva Zelandia 9.50. Y habría podido comprarlo por menos, o por más. De los 45 peniques no me habría salvado porque eso es lo que cobra el intermediario por copia vendida.
Lo significativo del asunto no es que yo haya hecho esta compra. Lo significativo es el conjunto de cosas que pasaron aquí. Como gente que disfruta la música, la buena música, esperen más de esto en el futuro: la cadena de intermediación está siendo totalmente redefinida. Claro que quienes insistan en comprar la basura de Cristina Aguilera, 50 Cent, Shakira, Pussy Cats Dolls and the like, tendrán que seguir chupando de lo que la industria de la música provea y como lo provea, o esperando a que alguien le haga un P2P para compartir sus archivos.
Radiohead es el culmen de la rastrera tristeza y del desespero individual en un mundo lleno de zombies. ¿Algun interesado en una copia? Sólo 7 libras.
Man, I’ve been ripping CDs at iTunes default 128 kbps for years and years. I didn’t know I was such a loser.
I’ve softened up to the new “Videotape” for one reason: the structure gives it a completely different mood and drastically changes how I view the album as a whole. Sure, the more rockin’ version they played live is fantastic and it would’ve sent “In Rainbows” out on a high note…but maybe therein lies the problem. The percussion gives the song something of a futuristic funeral march feel which is growing on me a lot. I think all along “Videotape” was meant to be more of a somber, droning track and the recorded version succeeds in creating such an atmosphere.
“Nude” has been around for years so it’s familiar. “All I Need” has a bit of a hook with the one-two… one-two-one-two keyboards. “Jigsaw” has the most overt hooks.
People use guitars because they are versatile, as opposed to tinny cymbals and fake sounding drum machines. People use hooks because they help the listener connect with the music.
Yorke seems to have decided to eschew things that work in favor of things that don’t work to spite the imitators, but he’s hurting himself by making the process needlessly torturous and he’s hurting his fans by delivering offbeat for offbeat’s sake.
Yorke told fans who wanted to hear “Creep” that they were “so yesterday.” If that’s how he feels, why does he insist on burying his music under drum machines that are just as dated?
One suspects that Yorke has mostly eliminated guitars because they would show up the rest of the compositions as almost irrelevant soft rock (or club rock) with no immediacy or authenticity.
The live versions were better because the band played real instruments with feeling rather than hiding behind a control panel. Radiohead should be banned from the studio and Godrich should be sacked.
Frank
I love it, but I miss the old Videotape.
Maybe it’s better having NOT heard the live versions of these songs. They sound fine to me.
Wow! So no one else is feeling Videotape? I am incredibly bemused. To borrow a phrase from Jeff Tweedy: “I love it so bad.” It is one of my 2 favorite songs on the album. Beautiful Yorke lead vocals, gorgeous/warm piano mixed with haunting overlapped vocal hums, and that ridiculously awesome panning and rolling percussion effect. If you aren’t in love with this song, try listening to it again with a pair of good headphones! Easily the best Radiohead album closer since Street Spirit (Fade Out).
I honestly think every single song on In Rainbows is great. Other stand outs are Jigsaw Falling Into Place (my personal favorite), 15 Step, Faust Arp, Bodysnatchers, and House of Cards.
I had been bored with Radiohead following Amnesiac (which I love as a loose collection of songs), and this album is exactly what I needed to feel excited about their music again. I love the album, and my initial reaction is that it is at least in Radiohead’s top 3. I will be playing it on repeat until the bonus disc shows up in December (it is like getting 2 Radiohead records in 3 months).
I’m sure I can’t be the only one thinking: “My favorite band is back.”
http://www.kevchino.com/review/radiohead/rainbows/1374
thanks alice! i too had some issues (last night my credit locked me out b/c i hada the wronga exp date and now XXXXX) i have faith in radiohead b/c they have faith in me — despite the link i will still pay the piper, maybe not at the gates of dawn but during the itis of post lunch.
well my d/l is complete, here goes nothing… ZAPAPP AZISITSISZ ZIT ZIT SSOAOSS XXXXXX..xxxxxxx——zzzzzzzzzz______.
frank couldn’t be further off the mark…while in rainbows has a bit of electronic drums, it is the real drums that dominate and shine through the duration of the record. they sound unbelievable crisp and full. to another argument of his, this album is hardly “offbeat for offbeat’s sake.” this is far more conventional of a rock album than hail to the thief was, and surely more so than kid a and amnesiac. finally, he complains of a lack of guitars. i really doubt that frank jewett has even listened to in rainbows because his comments are completely unfounded and unsupported by the evidence of the songs…
all that said, this album is exciting, enchanting, and thoroughly breathtaking. the hard-panning, close-mic’ing, and indulgence in reverb only add to the original and exciting song writing. there are surprises densely packed into every song. not many people have noted the gratuitous use of strings seemingly throughout. jonny’s arrangements add depth and soul to the songs. the percussion as heard in reckoner is also an new trick for radiohead and they pull it off wonderfully.
the album is a wonderful success and i believe time will be on it’s side.
Outstanding Album! also – Doesn?t ?House of Cards? sound kinda like the first 30 seconds of ?Waiting on a Friend? by the Rolling Stones?
I noticed when I loaded the album on my ipod and scolled down the artist list radiohead was listed three times – sort of in the same motif as the cover art. did anyone else notice this? spoooky
This album is such a tease.
Honestly, the whole thing clocks in under 45 minutes and I still want more. Granted, “Videotape” is their best album closer since “Motion Picture Soundtrack”.
Radiohead giveth, Radiohead takith away. Videotape is beautiful in it’s current form. Quiet now – y’all act as if you wrote that song and they’re doing you the courtesy of interpeting it.
Hey! Where’s Taylor Hicks?!!
I miss there old songs like video killed the radio star! what happened to tohse!
I actually like “House of Cards” quite a bit. It also has some oddball drum riffs, but they are buried much lower in the mix which makes them intriguing rather than overbearing. Listen to that and “Videotape” and you’ll understand where I’m coming from, whether you agree with me or not.
I’m looking forward to getting the additional material. “Down is the New Up” will have more tumbling drum gimmicks, but they won’t be drowning out a beautiful piano ballad, so they won’t be as annoying.
“Go Slowly” featured a more standard beat and could be a cool, heavy, brooding ballad. There are other songs that sounded promising as well, provided they didn’t get overcomplicated in the studio, but those two have been my favorites from the live versions.
15 step is a great way to start the album. I would say I have played it more than 10 times today. House of Cards is really good. Overall good (will probably turn great after more spins) album.
The Dling has not been bad. Radiohead is setting a precedent with this so lets not give them too much flack alright..
is it just me or is arpeggi really bad? Well in a radiohead sense really bad – the riff is going back to the old paranoid-knives-gameshow host style which finally builds and builds into … the mid-8 from idioteque (at 3:41 I can’t tell the difference between the two songs) …
I expect a little more from radiohead.
I love the rest of the album; all I need, 15 steps, videotape (yeah I haven’t seen it live yet) are all amazing its the placement of my one bone of contention thats ruining it a little for me.
But I’m still shelling out the £40 …
I can’t put it away, even after listening to it 25 times since it was released.
I made a pact not to listen to any of the live tracks and I feel it was WAY worth it. Those of us that did that seem to be having a bit more fun with this.
As for videotape, I’ve never been so haunted by a song before. Amazing.
I’m tired of everything but the actual music. Tired of the criticism, the fans, the posing, and the formats.
I wanted a beautiful piece of art and I got it.
It’s alright. There are a few great songs on it, but I found myself skipping over tracks because I couldn’t bear to listen to Thom Yorke moaning for minutes on end…
Not bad. Not fantastic either. Massively overhyped.
YAWWWWWWWWWWN.Not the way I would start a new business model.
i like it a lot!!! the live version of nude is heartwrenching… but the studio version almost matches it, that’s hard to do, i think. as an album, i think it shows the band’s evolution. they’ve always been moving in this direction. there were no surprises (har har) really, it seems like thom’s taking more of a stand. the album reminds me of his “eraser” more than any of radiohead’s stuff. the marketing strategy is great. i think it shows how much they appreciate their fans and believe in them, and so what if they know they’re great and can get away with whatever they want. they are, and they can. they’re radiohead.
Yep. I’m so glad I’ve never heard the live versions of these tracks. Each one is new to me, and each one is magnificent. The closest thing to a misstep on the album is ‘House of Chords’ and even that is superb. There’s a better version of ‘Videotape’ out there? That I’d like to hear.
Keep them 5/4 songs rollin’ in, bastard people.
Little off topic, but worth mentioning..so Blender just included Kid A in their top 10 most overrated albums ever. Oh yeah, they also through in Pet Sounds & Never Mind the Bollocks for good measure. Fuckin CRACKHEADS over there:
http://www.blender.com/guide/articles.aspx?ID=2877&src=dx10:MKd
After listening to nothing but this album for the last day and a half, I actually did start to question how epiphanic it really was… nothing that gutwrenched me like “Let Down” STILL does, and no vocals recorded by anyone in history will ever be as immaculate as “The Tourist.” But then, I sat alone in my room, unwinding from the day, and “Videotape” came on. I actually really prefer its new solemn and poignant identity as opposed to the fury of before. The old version could definitely be saved for live shows and this album version would still be totally justified and perfect.
THEN – then, I finally had a chance to listen with earphones. This is what blows me away and why this album is unparalleled no matter what anyone says: THE INTRICACIES. Beyond the album’s overall beauty, you have to maintain the perspective that every single sound, layer under layer, is produced with human hands and throats and a living, breathing aptitude. That is what blows my mind the most and I absolutely swear that if you take another listen with this at the top of your mind, it will be an entirely new and exciting experience.
I really hope people don’t kill me for this, but I really embraced this approach when I started to feel burnt out on “Z” by My Morning Jacket, and now it just gets more rewarding everytime I put it on.
So for the naysayers – try again. You won’t regret it.
And Phil Selway is a god.
They must tour…
It is kinda LiteFM Radiohead.
Sounds more like Thom’s second solo project, or just songs that didn’t make it on Erasure. “Body Snatchers” appears to be what the kids would call rock ‘n’ roll. “Reckoner” channels U2.
Sadly, this is the Radiohead I expected to hear. Basically and evening with Thom and Friends. Can’t wait for the Christmas album.
arpeggi sounds like the drum and bass remix of an AMAZING song
this version is done in much better taste
http://video.google.com/videoplay?docid=6448272464141383355
instead of the protools drum loop,its liberated by swells of strings creating an atmosphere that facilitates much more emotion, and i see people commenting- “the drumming is bone tight OMG”….well ugh yeah, even if it wasnt loops its no feat for a drummer
also the intro in nude sounds like slow jams rnb with the rim click, just picuture a big low black voice over it saying ” baby …you know…..its been awhile….but i just wanna…i just wanna say …”etc etc
also go and listen to this straight up version of house of cards .. i LOVE LOVE LOVE it
http://video.google.com/videoplay?docid=-1710391462638690760&q=house+of+cards+thom+yorke&total=5&start=0&num=10&so=0&type=search&plindex=1
but the album version has this weak electric riff the whole time. and the vocals are drowning in cheesey reverb that they pulled from there trick bag,
i swear to god mody did the beat for reckoner …this song sounds anything but organic to me
,these are great songs, but they are recorded nearly all wrong, Faust Arp stands in the middle of these songs like the innocent song that keeps to himself that gets kicked around by all these bloated songs, but this unsuspect innocent song in the middle actually has all the answers, its so fresh to ear thom sing so intimate,
ive tracked this band since i found them a few years ago, ive scoured the internet for everything radiohead,stanley donwood,nigel godrich aswell as thom yorke interviews text or video ,i visit greenpastic and ateaseweb pretty darn offen, so im not coming from some outsiders perspective,
“As for your reviews: Lots of complaints about the sound quality”
this is just crazy, you have some people saying the quality isnt good enough, than you have some people saying, im gonna wait to listen to it on viynal, you people couldnt sit down and hear the difference between these bit rates.
stereogum your opinions on this record are soooo weak and forced sounding ,yeah its gotta set in blah blah, but”warm organic instant classic”??.you spread it and get fucked just liked the rest of um huh?
i LOL’ed when i saw you mentioning mic positioning, ‘all i need’ is SUCH a weak radiohead song, i also noticed your use of the word ‘bathetic’…this is an important word, i think it nearly works for explaining what this album is as a whole
bathetic – effusively or insincerely emotional; “a bathetic novel”; “maudlin expressions of sympathy”; “mushy effusiveness”; “a schmaltzy song”; “sentimental soap operas”; “slushy poetry”
most of these songs sound like slushy recordings with great songs at the core
The blogosphere has been abuzz with the unprecedented distribution of England’s iconic prog-rocker’s seventh LP. The question that no one seems to dare dance with is that of the low bit rate. George Washington once declared, “Give me Liberty, or give me Death!” Lou Barlow revised that sentiment for alterna-rockers the world over asserting “Give Me Indie Rock!” I’ll update that declaration for the techno-savvy bloggers among us: “Give Me 320kbs, or Give Me 180 Gram Vinyl!”
As for the music found here, it pales in comparison to the band’s last effort “Eraserhead.” While Mr. York pushed the boundaries of what modern dance music could be, his bandmates have led him down a rabbit hole of endless lo-fi soft-rock and punk schlock. Radiohead have summed it up themselves with their tune “House of Cards.”
Is there a pot of gold at the end of this rainbow? This blogger thinks not. That diminutive leprechaun Tom York has once again escorted me to a pail of garbage. It’s magically atrocious!
Verdict: Save your money!
I think this is not only the best Radiohead album EVER but quite possibly the best album EVER period!
What an incredible dreamscape is woven that time becomes an afterthought and place non-existent. Each song has a character completely seperate of the others.
Do yourself a favor. Listen to it LOUD and on the best sound system you possibly can. I happen to be fortunate to own a rather impressive sound system and listening at -15dB in a darkened room; nothing short of extasy. And nowhere was I disappointed with the bit-rate.
Now I only wish I had paid $100 instead of $10.
Dear #1 Blogger:
It’s Thom, not Tom.
It’s Yorke, not York.
It’s The Eraser, not Eraserhead.
And The Eraser was a solo album, not “the band’s last effort”.
And we’re supposed to take you seriously, why?
cristian: “the hard-panning, close-mic’ing, and indulgence in reverb”
That’s exactly the kind of stuff I was noticing too. Not so much the ‘songs’ themselves (‘this song has a better version’, ‘but the live Nude… blah blah’), but the recording techniques.
I love the wide spacial sound they got with the mixing, and the lush, yet very ‘up-front’ kind of sound they got. It’s very eloquently and dynamically mixed. I was thinking ‘geez, it takes BALLS to use that much reverb’, but somehow, they really pull it off. Super dreamy/floating/spacey… And the use of (what I assume is) a lot of analog delay and that sort of ‘eternal feedback’ overlapping looping echoes is bold and really unusual.
Regardless of what you think of the songs, the arrangements, Thom’s singing style, or whatever, this is a really creatively recorded piece of art that I think is taking some interesting risks that sound really fresh and alive.
I, like most everybody, really like the album. I think its a bit understated–which is a great feat for a band of Radiohead’s caliber and size. I think anyone who’s played in a band can understand how they could’ve fought as much over an album so humble.
That said, with such a long wait, I would’ve been a little happier with a most grand record. But it will work better historically than it does in real-time.
The most accessible Radiohead album in years, since the Bends maybe.
I’m not too keen on ‘Bodysnatchers’–Radiohead’s approach is way too classic rock British to be as punky as they sometimes try to be. And that guitar tone is pretty crappy.
Like ‘Hail to the Thief’ (their most underrated album, methinks) the track order is no good. They’re in this rut where every album is sequenced the same and it effects the way the songs go over, negatively, I think.
Overall, its no OK Computer or Kid A, but it doesn’t need to be. Radiohead is already the best band in a generation and if they wanna give us albums of great songs (like the last two) and not great statements, it works for me. I just wish they’d do it a little more often, is all.
I totally agree with Wingo. The recording of the album is deceptively simple, and they do a of things (juxtapose of the close mic & reverb, for example) that don’t get tried often.
I bet that for each song there’s a bunch of alternate versions and extra tracks. Maybe they’ll release some sorta remix album? Would love to hear alternate versions and stuff that didn’t make it into these tightly-controlled, but loose-feeling arrangements.
weird! on first spin, i totally thought BoC on that track too.
Some Canadian comments:
http://www.canada.com/nationalpost/news/artslife/story.html?id=d2faa64b-7bb9-4c2e-b049-6d54790ba588
http://www.craigmonk.com/the_classroom_conservativ/2007/10/radiohead-in-ra.html
http://jam.canoe.ca/Music/Artists/R/Radiohead/AlbumReviews/2007/10/11/4567044.html
boo #1 blogger. usually his posts are really over the top and misinformed with little sprinkles betraying the fact that he actually knows the bands he seems to have no idea about. this time he tried to be serious i think, and just flat-out didn’t know what he was talking about. but i do love that license plate.
Those Blender bastards trashed “Since U Been Gone” too! Overrated my ass!
I’m on my second listen through right now and I love it. It’s subtle, beautiful and dreamy. The layers of sound are what catch my attention, each time I listen to the songs I am picking up a little more than the time before.
I don’t usually compare their records because honestly, I love them all. I give In Rainbows a heady, lovely thumbs up.
Hail to the Thief was a new place. But it wasn’t comfortable. The juxtaposition of Radiohead’s alterego, pining rock band on one hand, and sophisticated, droned, dark, morose, electronica outfit on the other, was forcibly pushed together. An alloy that didn’t sound as if it fit. In Rainbows is also a new place. It’s a “rainbowy” place. The alterego fusion works here. It isn’t uncomfortable, or forced. It’s smooth. House of Cards reminds me of The Clash. It’s an isolated island in Thailand. The sun is shining. There are clouds and storms, but the harmony between them is most important. This is Radiohead stepping outside of that canon which is “Radiohead”, by writing something of a more conventional pop song. But not conventional in the Bends kind of way; there are things here (where? here. hear.) that the Bends could only dream of. Jigsaw could pass for a Broken Social Scene song. Various songs hint at moments in OK COMP and KID A, but then quickly morph into something new and exciting. Faust Arp sounds like something off of Sgt. Pepper’s. In Rainbows is perhaps the closest thing they’ve ever made to a comfortable album. Comfortable in its simplicity, serenity, design. There isn’t the paranoid edge of earlier work (this is in part a lie; of course it’s kind of bleak, I mean it is Thom Yorke); but instead a kind of comfort, serenity, at-peace or-coming-to-terms-with-itself. This is unpleasant for many die hard fans. I don’t know why. Does the lack of past dread suggest a larger lack, a weakness in the album, or in fact a PRESENCE of a new found maturity for Radiohead? Songs are discoveries outside of the dark clouds of the past. They are, quite simply, “in rainbows”. As an album, I think “In Rainbows” is in many ways the most intelligible thing Radiohead could have done to remain relevant today.
I’m new to the whole progressive/alternative rock scene. I’ve always heard that Radiohead was the influence of many popular bands today, and after listening to this extensively, I finally fully understand that argument. This sounds like Coldplay, The Fray, and Keane all rolled into one…
…and it’s freakin’ great. I love it.
“This sounds like Coldplay, The Fray, and Keane all rolled into one…
…and it’s freakin’ great. I love it.”
Wait. What?
so second day since its released and the hyped has died on me….a bit. Im definitively not liking All I Need, and my favorite song is Reckoner and 15 Steps. I think its sinking a bit now, and I definitively think the album sounds better if you listen to it as a whole…ts very flowy.
“This sounds like Coldplay, The Fray, and Keane all rolled into one…
…and it’s freakin’ great. I love it.”
Best comment ever.
i have to reiterate my comments on the recording/production quality of this. really pushing the envelope. please use headphones (other than your iPod earbuds). please. it is more than worth it. especially on songs like house of cards that people are complaining about. it become much more interesting and elaborate. make sure you have good low end!!! surprises everywhere!!!!
it seems a bit like a weird blend of the white album and dark side of the moon.
does this remind anyone else of the new kanye west album? WAIT WAIT WAIT WAIT!!!! hear me out. alls i’m sayin’ is: elaborate, over-the-top, influential artist refines what they do best by crafting a deceptively simple album that is shorter and sweeter than their previous work, while still pushing the boundaries of production and songwriting in their genres.
i’m just saying…
There is not a weak track on this album.
Not only that, “Bodysnatchers” is one of the best rock songs I’ve heard.
I know all the live versions and whatnot, but I think the choices they’ve made and the way that this record flows together makes up for any missteps you might have come to see as “fact” from listening to bootlegs that the band didn’t want you to hear
It’s really mind-numbingly good. The lyrics are the real clencher, too
This may have been mentioned already (I just skimmed the comments), but does anyone else hear ‘Neon Bible’ in Videotape? I can get Ne-on Bi-ble out of my head when I hear the piano.
@Carrie
Yes, absolutely.
Although a Radiohead album generally takes a week to fully digest, I’ll give my premature eval.
It’s a logical progression for this band in my opinion. I’m very happy with the more organic elements, at times it gives a very warm and inviting feeling. The string arrangements are choice as hell and some of the synth is very juicy. Props to Greenwood for his departure from the familiar as well, sometimes breathy and sometimes chunky guitar.
I don’t know about you all, but I’ve had a lot of fun spinning this album and can’t wait to see what 10 more spins does for me.
Everybody is crazy!
Ok, when i first heard this album i wasn’t sure what I felt about it. BUT i listened to it a few more times and I was amazed! Like most radiohead songs, i think you have to listen to it a few times to get how everything is put together!
and the song reckoner is amazing!!!!! and thom’s lyrics in this album are some of the best!
why the hell didnt anybody say anything about reckoner? i seriously think it is one of their best!
Wow. I don’t want to quite say it’s the better than OK Computer (have to wait to make that call), but I think it’s fair to call it #2. God, the experience of hearing the live versions completely transformed was mind-blowing. Most noticably, Reckoner.
I’m so happy to hear Radiohead come out of a dark and glitchy faze, and into this slightly poppy-er era. Honestly, I was a little disappointed with both Amnesiac and Hail to the Thief, even though I did very much like them. Nothing compared to OK Computer and Kid A. I think that In Rainbows has a serious tone. Not really any full-on rockouts, nothing all the way on the electronic end…but everything seems to feel epic. Johnny Greenwod’s orchestral kick obviosuly shines through. Usually I hate when artists bring strings into the game–usually a cheap way to make your music sound more important. However, this is done not only tastefully but masterfully.
This is more than I expected. They really changed things up here. I hate to sound cliche, but instant classic.
Jigsaw falling into place is just amzing .
What the whole album is amazing.
Love the trip they are us on !
I am now using this album to fight crime, which is difficult, considering its digital form.
Basically just hitting people with my MacBook, really.
At the end of Reckoner ,you cold almost hear another familar song in the background……
The familar song at the end of Reckoner.. sounds like Silly Love Songs from Wings….mmmm a tribute to Paul McCarthy?
This album blew me away, there is no other band out there at the moment that can deliver such a diversity of sound and yet with such cohesion. The cohesion of the overall album marks it apart from their last effort (hail to the thief) and is probably their greatest to date. A fusion of all of Radioheads influences over the years have combined to create an astonishing sound?Extraordinary!
TRACK BY TRACK INITIAL THOUGHTS…
15 Step- Very solid opener, creating an edgy, stark and minimalist sounding landscape that sets up the tone for the entirety of the album. Gorgeous, hooky guitar riff and Kid A-esque closure. Rating 8.5
Bodysnatchers- Tortured vocals, catchy with building complexity throughout. 2 minutes in and the real magic builds to a distinctive finish that you expect from Radiohead?This one will blow your socks off. Rating 9.5
Nude- A highly emotionally charged number 3 as Yorke howls down the mic in the way only he can do. Despair and longing permeate through a very stark sound, Yorkes vocals dominate. Rating 9
Weird fishes/Arpeggi- A drum and base, electronica background, guitar and piano epitomize the fusion of all of Radioheads influences over the years to create an astonishing sound?There is no other band out there that can create such a fluctuation of different influence and no other band that could use the lyric ?weird fishes? to have such indelible meaning. Rating 9.5
All I Need- Electronic groans and catchy drum introduce All I Need with a tone of emptiness and of feeling trapped in this emptiness as Yorke tells us ?I just want to share your life? and ends with piano, and a crescendo of white noise that leaves you breathless. Rating 9.5
Faust Arp- This one seems to be the only anomaly of the whole album and on early listens seems to miss the magic ingredients of the other tracks. Folky and Nick Drake-esque/Maybe a grower. Rating 7.5
Reckoner- Gorgeous and beautiful?Difficult to describe this one you?ll have to do this one for yourselves?Rating 10
House of Cards- Longest track that entrances with its drum beat and with distant echoey vocals that give off a massive expansive vastness, very eery and edgy. Superb. Rating 9.5
Jigsaw Falling Into Place- Classic Radiohead. Another gorgeous and amazingly catchy sound that just sucks you in and builds with speed and with fantastic lyrical execution. Wonderful. Rating 10
Videotape- This is a most fitting end to an incredible album. Touching vocals in the starkest and most minimalist track on the album?Unique and verging on greatness. Rating 10
For me, this is the first Radiohead album in which various songs strongly evoke other bands — before this Radiohead only ever sounded like Radiohead to me. That’s wearing off a bit as I listen more closely, though(except for Faust Arp, which is just inescapably Nick Drake-y to me).
It also seems less big-picture than I usually think of them. Musically, it flows nicely as an album, but conceptually it seems to be a series of songs about discrete feelings at various moments in time, than any particular worldview.
YES!
Listen to this record with headphones…and when the CD comes out, better yet…listen to THAT with headphones.
Remember, everyone…this simply the TEASE. Buy the CD.
As far as the record goes? I always liked OK Computer…A LOT…never really got that it was the second coming.
But this? This is GENIUS. Argeggi reminds me of Durutti Column…All I Need reminds me of The Blue Nile.
Genius. All of it. For my buck…I’d pull OK out of the CD player and put this one in…it’s quite a mellow, delicious affair.
I’ve listened to it every day since it came out and like most Radiohead records it’s taken that long to sink in…but it really hit my tickle spot instantly.
I personally think this album is their worst, maybe aside from Hail to the Theif. That wasn’t great either. Some okay songs this time, but no solid Radiohead-esque concepts. The things that us make attracted to RH lack in this album. They haven’t really grown. Same stuff. The band just seems bored. House of Cards is an amazing song at its core, amazing live too. But the studio version is not really good, the reverb is silly. I’d say, this should be their last album. Retire, do solo work instead. They gave us the Bends, OK Computer, Kid A, Amnesiac; what else can we expect?
This album, In Rainbows, shows how Radiohead will quite literally turn rock to stone. It is so important in the canon that people can’t help but be confused. It has the achingly plaintative Thom using his voice as another instrument, along with the lushness of cello and violins. Ed’s background vocals on Weird Fishes/Arpeggi and Nude, sure to be more incredible live (read: No Surprises), will surpass you imagination. Colin’s bass playing has never been more assured…he has made the same sonic leap he did when he took bass lessons before OK. I think “jigsaw” is this album’s “There there,” a song that grows over time and is suitable for grooving or *gasp* dancing.
I’m always wary of judging their albums too early I wrote kid A off when I first heard it and it’s now my absolute favorite of theirs! I feel it’s when the bands collaboration with Nigel peaked and from there on in it’s become more and more uninteresting and predictable having said that I still always look forward to their new albums and maybe Nigel has become the 6th member in alot of ways! I’m enjoying the new album now.. they’ll always write great heart wrenching and bollock ripping songs I just want them to blow me away all over again like Kid A did!
After a protracted stint out of the limelight, Radiohead have appeared, as if out of nowhere, with their seventh record In Rainbows.
Hail to the Thief, Radiohead’s last offering was, if anything, a slightly bloated record. Although it satiated the pro-guitar lobby, it felt too long and lacked the eccentricity and creativity of Kid A and Amnesiac. The comparatively short In Rainbows, while certainly not an exercise in regression, recalls the eerie, otherworldly atmosphere that so characterised those two triumphs of experimentation and abandonment. However, never has Radiohead’s experimentation been so accessible, so tender and so achingly beautiful.
The album opens as expected. 15 Step could have been a track on Thom Yorke’s recent Eraser project. It utilises Yorke’s obvious appetite for creepy, disjointed, discombobulated electronica hinged by Johnny Greenwood’s fretwork and Yorke’s melodious sarcasm and wit. Yet amid the computerised confusion, In Rainbows radiates with longing, regret and a deep sadness. These are emotions not approached with much regularity by Radiohead.
Unlike The Bends or OK Computer, In Rainbows is all about covert meaning, and the evocation of these introversions through subtle yet shimmering and resonant melodies. This is Radiohead at their absolute finest. Nude (Big Ideas) is a perfect illustration of Radiohead as they are today. The song is about infidelity and is racked with guilt: “So don’t get any big ideas / They’re not gonna happen / You’ll go to hell for what your dirty mind is thinking”. Similarly, House of Cards touches on the same subject matter. Infidelity? This is Radiohead. Radiohead make songs (if one will allow me to criminally paraphrase) about escaping death, inadequacy, paranoia and corrupt governments. Not this time. Radiohead have approached their vulnerabilities and by looking within inner frailties, they have managed to create frighteningly personal musical expositions.
Reckoner, perhaps the highlight amid an album of highlights, starts with cycles of simple guitar riffs over a soft tambourine rhythm. Soon the guitar pattern swells into a mellifluous melody that circles, butterfly-like, into a hypnotising and then rousing string-laden ascension
Contrast this with the opening eeriness of All I Need. Yorke mumbles: “I’m an animal trapped in your hot car / I’m all the days that you choose to ignore” while a lazy marching baseline plods drunkenly along. However, this saturnine mood soon transforms and escalates into a thickly layered and sweeping crescendo which overlays jolting piano chords with crashing cymbals and the breathtaking, unnerving screeches of Yorke at his majestic pinnacle. This is a song truly intimidating in its beauty, and while many still feel Radiohead to be too challenging and too abstract it is always worth scratching away at that indurate surface.
Faust Arp is a clear nod to the genial qualities of Elliot Smith and is a clear reminder that Radiohead, the great innovators, are also open to influence without ever stepping into the murky territory of imitation or smugly satisfied rendition. Weird Fishes/Arpeggi exhibits a sincerity and longing that we have seldom witnessed before: “In the deepest ocean / The bottom of the sea / Your eyes / They turn me.” Never before has Thom Yorke sung of such longing and blind love and affection. Johnny Greenwood’s unusual use of special effects allows his riffs and melodies to shine as always.
Videotape, the album’s climax, is so tender in its sentiment as to be almost unapproachable. The tape in question is an obituary piece for children left behind. Yorke reflects this achingly sad sentiment with some of his innermost outpourings: “This is my way of saying goodbye / Because I can’t do it face to face.” The song fades out as chiming piano chords soften the overhanging electronic death march.
In Rainbows is flush with subtle melody, truncated crescendos and abrupt endings. It is the better for it and make no mistake, this is still Radiohead alright. There is gloominess and introspection. But this is a band that is getting on a bit in years now and perhaps finally, they are opening up and revealing their true colours.
Don’t get me wrong, I like In Rainbows, love a few of the songs (Nude, Arepeggi, maybe more later). I’ll listen to it many times and I’ll go see them live as many times as possible. Radiohead is one of my favorite acts ever and I thank them for all they’ve done. But their true genius – like the best of the Stones, Beatles, Clash, Nirvana, etc — was The Bends and OK Computer. They coulda been one of the greatest rock bands ever. Chose not to. No biggie, their lives, their choice. A lot of fans love what they’ve done. Me too. I liked the diversion starting at Kid A, admired them for doing it. But the diversion has taken over and they won’t be in their peak years much longer.
Review of Radiohead’s In Rainbows
15 step
With a “Backdrifts” drumbeat and one “Pulk/Pull”-style vocal echoing, Radiohead seems to do the improbable every time they decide to record: they have the knack of blending their own unique and disparate sounds into a new sonic landscape. “15 Step” also borrows from “The Gloaming” in that it contains an electronic shuffle effect, like a book being closed rapidly. Unlike the previously mentioned songs, however, “15 Step” seems to have a more traditional structure. Radiohead has decided to construct an actual “pop song” around the electronica. This is borne out by the simple guitar passage provided by Jonny, joined later by Ed. Ed also provides the handclaps heard in the song, if the live performances witnessed are any indication. Thom, on the album as a whole, is using his voice like another instrument; this is a departure from previous albums where, on many songs, he tends to have a deliberate case of the mumbles. During the bridge of “15 Step” Thom sustains a long note, most likely joined by Ed in the background, that sounds like a synth; what’s interesting is that, following this sequence, Jonny reproduces a similar sound on what I believe is the ondes Martenot, one of the many instruments in which he is well-versed. At this point, the entire band–as well what sounds like some local Oxford cheerleaders yelling “YAY!”–join together for the final 1:20 of the song. When it comes to setting the table, all bets are off. Radiohead, as is their intention on all their studio albums, opens In Rainbows with an introduction ranking among their very best, including “Planet Telex,” “Airbag,” and “Everything in its Right Place.” ——5 stars (out of 5)
Bodysnatchers
It is neither beneath nor beyond Radiohead’s ability to tap into their punk roots. Examples include “Electioneering,” “Lewis (Mistreated),” and “2+2=5.” Unlike most commercial “punk” songs, however, Radiohead versions almost always have imbedded meanings, most notably the notion that screams: “I am not insignificant!” “Bodysnatchers” is where they do it on In Rainbows. Jonny leads the brigade and Ed soon joins in to fill out the sound. Soon the whole band is musically flailing about, until about the two minute mark when, inexplicably, Radiohead decides to introduce a lovely bridge…the sustained “solo” by Jonny is broken apart by Thom’s exclamations about the light being out for all of us and, then, when Thom declares: “I’M ALIVE!” you most assuredly pay attention. “Bodysnatchers” is a misleading song title because what is being discussed is not actual physical bodysnatching, but the psychological bodysnatching that occurs in us all–when apathy consumes the body in any form. All Thom has to do is repeat “I seen it coming” 32 more times to duplicate the jarring effect of “you have not been payin’ attention” from “2+2=5″ to fulfill the mission. All kidding aside, the effect it has on the listener is to give a clarion call to all those who choose not to (or never) listen. ——5 stars
Nude
What initially sounds like pure electronica, including a reversed-tape loop, “Nude” quickly morphs into a drum ‘n’ bass song about loss. “Nude” turns out to be an appropriate title for a song where the message is that, no matter what, you will not exact change in your lifetime. Stylistically, Thom has decided, yet again, to borrow from the past as he sings in the mode of “You and Whose Army?” Nasally and echoey, Thom evokes pain and beauty at the same time. Jonny gives the song an orchestral tinge of cellos and violins through the use of the ondes. As mentioned earlier, Thom uses his voice as an instrument most notably here, making the line “you’ll go to hell for what your dirty mind is thinking” sound ethereal. His singing aspires to higher octaves towards the end of the song and “Nude” ends with the most astonishing closing vocal segment ever recorded by Radiohead (or anyone else). —–5 stars
Weird Fishes/Arpeggi
Originally a synthesizer tune, “Weird Fishes/Arpeggi” takes on a new and improved shape when played on guitar(s). After a lengthy introduction, the band hits full bore as the lyrics begin. Although I think the song is fairly elemental, there are a few surprises here. The first is that Ed’s background vocals make the anticipation of a live performance of this song almost too much to bear. The second is that Colin’s bass playing is at its most confident and assured; it is similar in aptitude he achieved when he took bass lessons prior to the OK Computer sessions. The final minute and one half is full of Colin’s robust bass along with Jonny’s clanging guitar. Overall, however, I think “Weird Fishes/Arpeggi” is a substandard Radiohead song. I think it’s a bit long and, despite the fact that many bands would sell their offspring to write a song like this, it is a tad pedestrian by Radiohead standards. —–4 stars
All I Need
What begins as what sounds like a leftover space song from the OK Computer sessions, “All I Need” morphs into what what might be a first from Radiohead: a true lovesong (sorry “Exit Music” fans). Of course, in typical Radiohead fashion, they tend to twist the achetype into a pretzel. It appears that the love referred to resides on a one-way street. Thom sings about being “the next act” and being “trapped in your hot car” as if he were a forgotten, overlooked, and underappreciated person (or dog). This is a lovesong about the deceptive nature of (modern) relationships, platonic and otherwise. It takes some kind of nerve for someone like Thom Yorke to own the perspective of being someone who “wants to share your light,” especially when rabid worldwide fans want any piece of an idol. Despite the audacity of the challenge, Radiohead seems to appear earnest (and ultimately succeeds) in their attempt to convey this message. It helps that they have added a assortment of musical accoutrement, employing echoey bells, a fuzzy synth and Phil’s crashing cymbals. Indeed, after the second verse, the band machinates as the booming piano completes the raucous and jarring “noise.” The near unintelligble lyrics, deciphered as “it’s all wrong, it’s all right, it’s all wrong…” combined with the raucousness of the sound, seem to echo the very nature of the subject of the song: frustration about a love that cannot be completed. —–5 stars
Faust ARP
I think ?Faust ARP? is a brilliant segue in the album. Although it is approximately the same length in time as another profound Radiohead segue?”Fitter Happier”?it has a completely different effect on the psyche of the album (and its listeners). Where “Fitter Happier” reinforces the concept of OK Computer as a humanity v. machine universe with Thom’s computerized voice and single-note piano, “Faust” combines musical elements from Dylan, the Beatles, and Radiohead’s own oeuvre, most notably “Fog” and “Gagging Order” to evoke a sense of longing and/or what might have been. There seems to be a direct confrontation with an individual in the lyrical content, although, who that individual is remains unknown. Beamed in from the fifth side of the Beatles’ White Album, “Faust ARP” namechecks the very song from which it springs, “Blackbird.” In typical Radiohead fashion, however, they have decided to juxtapose a beautiful guitar song (along with cello and violin) with a Dylanesque stream-of-consciousness lyrical style, which is a relatively new style for Radiohead (found only on Hail to the Thief’s “A Wolf at the Door”). —–5 stars
Reckoner
A bit of Phil’s ride cymbal and a smidge of tambourine from Jonny as an introduction to perhaps the most compelling song on In Rainbows. Lyrically, Thom has reintroduced the lovesong, but now it has an air of foreboding. This is a song of love gone awry. Apparently, Thom speaks directly to his mate about his/her adulterous past. In the lyrics of “dare not speak his name…dedicated to all you…all your needs?” he is both recognizing and charging his significant other with an affair. Furthermore, Thom states that the impact of the affair, even after it is sorted out (positively or negatively), will have disastrous consequences forever because it “ripples our reflections,” as a pebble physically ripples a body of still water. The impact of the story is further enhanced by Thom’s falsetto voice throughout the song, which gives the song a melancholy it deserves. At almost exactly the halfway point of the song, just Thom’s voice, Ed’s background voice (and/or another vocal track), and Jonny’s guitar contribute a gloom not heard since “Pyramid Song.” This is followed by some added strings and what appears to be a reprieve of sorts…perhaps the sky brightening? Alas, no. “Reckoner” returns to its foreboding form thereafter. The most haunting sounds for me, and the sounds which I wish they would jam to in perpetuity, are at the very end of “Reckoner.” The Massive Attack-inspired conclusion is lush with sounds of Phil’s clanging ride cymbal coupled with a rising cello as it fades away. Sheer bliss. —–5 stars
House of Cards
A nice juxtaposition to the previous song, “House of Cards” seems to be about a person (Thom) being the person involved in an affair. The “house of cards” to which he refers has to do with the stability (or lack thereof) of his and his lover’s personal relationships with their spouses. Indeed, when he tells his lover to “forget about your house of cards…and I’ll do mine,” it seems as though he pleads for her to come to him and he’ll do the same, consequences be damned. The rudimentary tasks of “throw (ing) your keys into the bowl and kiss(ing) your husband goodnight” are just robotic actions by someone whose mind is elsewhere (the infrastructure collapsing). Of course, with abhorrent behavior comes consequences. Thom seems to know this instinctively when he sings “denial” repeatedly. Obviously, he is familiar with the behavior of adultery and knows what to do and how to act. I think it’s interesting that the final rounds of “denials” are imbedded with Thom and Ed singing what appears to be “your ears should be burning.” Are these lyrics supposed to be symbolic of an act of contrition? I think musically “House of Cards” is a fair Radiohead song. It is completely straightforward in direction. I must confess that, at this quite early stage of listening (perhaps 20 rotations), I tend to skip this song. —–3 stars
Jigsaw Falling into Place
With a slice of “2+2=5″ guitar work, “Jigsaw” begins. “Jigsaw” has many things going for it: 1) like some of the very best Radiohead songs, the song builds as it progresses (“There There,” “Paranoid Android”); 2) there are interesting intervals, especially at the 1:45 and the 2:55 marks; 3) there is a consistent beat–a beat meant for dancing, which is a bonus with any Radiohead song. Unfortunately, I cannot make any headway on the lyrics. It seems to be a slight stream-of-consciousness lyric, where usually nothing makes much sense except the rhyming sequence or the alliteration. But I am also confronted with the thought that there is a message inherent in the lyrics; the only stanza that makes much sense to me is the final one, where “she looks back, you look back,” as if there is a recognition by two people. But I can’t for the life of me figure out in what context this is being discussed. Oh well. My idiocy nothwithstanding, I really enjoy this song for all the things it has going for it. As an aside, what’s really pleasing to me about the song is the consistency of the acoustic guitars. I tend to think that it would be tempting to add a distorted guitar to the mix; I enjoy it more that it does not have an overt electric guitar sound, however. —–5 stars
Videotape
For the first time since OK Computer, Radiohead have successfully completed an album with an appropriate finale. It is my belief that “Videotape” is going to be the most discussed Radiohead song on In Rainbows, perhaps ever. It is a beautiful, yet gloomy, musical song that has very grim lyrics. What is essentially a suicide note, “Videotape” has lyrics that explain how someone has entered another world and left behind a video explaining his/her decision. The pain is explained from the point-of-view of the person who made the tape (the deceased) and , more frightenly, intuits the feelings that we, the audience, are left with after it’s over (the surviving spouse/significant other). A haunting porposition indeed. Musically, a lingering piano progression is joined by background vocals of morbid howlings along with an interesting drum beat that, over time, morphs into what appears to be the sound of an ancient reel-to-reel tape. In addition, a prolonged outro adds offbeat highhat and knocking drum (electronic snare?) sounds. It’s quite incredible that Radiohead is able to create such a beautiful and yet agonizing song. A definite gem. —–5 stars