I’m excited to listen to this, but the fact that I have to open ITunes again is killing me. When I realise I’ve clicked an ‘automatically open ITunes’ link I always think, ‘I SAID NEVER OPEN THAT BOX PANDORA!’ (Ironically, Pandora still not available in my country)
I love when Justin talks to the instruments: ‘Drums’ ‘Then the Horns Say’ etc
I feel if Get Lucky was replaced with Aerodynamic I wold be slightly more at ease.
Kid A is my go-to-album for these lists. I will admit I make snap judgements when it does not appear.
I’m hoping they call her South-by-south.
I guess no one had the ‘birds and civil-rights signs’ talk with Kanye.
That’s it exactly! I really like the ‘out of breath’ direction he’s going in with this album and those parts seem a lacking in comparison.
I think I like everything about this album except for the autotuned sections. Not that I have anything against them in principal, but they seem to be an excuse to not-rap and in some cases (not all) vocally ‘wander’ around the track. But I think that’s in the minority.
Can you though? I’d be genuinely interested particular since I don’t seem to be ‘getting’ that track quite as much as the rest of y’all are. Those first tracks though, wow.
There really are a lot of great jams on the album.
JT — Don’t Hold The Wall.
Disclosure — Latch
Foals — Inhaler
Coheed and Cambria — Number City
Everything Everything — Kemosabe
(Although I have to admit, most of my early summer songs have been the amazing leftovers from last year which was quite good for that sort of thing)
I love the vocal work on this album; I think that’s what makes it stand out against the rest of their catalogue (if you consider Ok Computer the ‘Guitar-album’ and Kid A the ‘Electronic-album’, etc… ((I think King of Limbs may be the’ Drum & Bass (((not house music))) album’ and the Bends the ‘Band-album’)). )
2+2=5 and I Will have astounding harmonies, very unusual in the former and triple-layered Thom in the latter! Scatterbrain uses very cool distorted ‘glitch’ vocals and Sit Down Sit Up has the repetitive vocal drone. Wolf at the Door and Myxymatosis obviously stand out for having talking/shouting instead of singing. The album really pushes a lot of limits in that sense, it’s like with Kid A they were trying to get away from Johnny’s guitar and with HTTT they were trying to get away from Thom’s voice.
Also, I don’t understand the non-love for Scatterbrain, it’s one the album highlights for me! Those broken cries of the title near the end are so moving, and the end riff is such a nice afterthought to the song. Four Tet’s remix is great too.
I’ve always thought of Hail To The Thief as the one Radiohead album where they forgot to release the B-sides separately.
I completely agree about the still-arguable ‘good/not-so-good’ tracks; even I find it hard to decide which ones I like at any one moment. And the fact that I disagree with some of your choices proves it! (Sail to the Moon is beautifully personal and Go to Sleep is so catchy!) Great write-up though.
When I sometimes (*often) try to categorise Radiohead’s albums, I usually find myself assigning them based on what newness they brought to their sound, or what they did best. For example, OK Computer is the Guitar-album, Kid A is the Electronics-album, Amnesia is the Jazz-album, King of Limbs is the ‘Drum and Bass’-album (as in percussion and bass guitar, not house music…) and Hail to the Thief seems to be the Vocal-album.
Ignoring a lot of the electronic experimentation (or non-experimentation) one common theme throughout the album is the use of multi-layered or distorted vocals to a much greater extent than on previous albums. I Will uses three layered voices, and much of the emotional connection with the song comes from their manipulation (one voice is just singing the melody an octave higher). 2+2=5 uses the weirdest dissonant harmonies, certainly not used ever before by Thom. Scatterbrain uses amazingly distorted vocals, consistent with the lyrical theme. Wolf at the Door and Myxomatosis are the most striking vocally in that they are mostly spoken or shouted which goes further than anything from Thom’s punk days. And I’m sure something could also be said for the repeated ‘Sit Down Stand Up’ of said song.
I wonder if anyone else thinks of the album that way?
For me, Unknown Mortal Orchestra, Laura Mvula and Justin Timberlake have stood out. I think I’ve spent most of the year thus far anticipating albums rather than listening.
I like Kanye’s lyrics because they are always definitely about ‘something’. He tends not to wander vaguely, which can of course be good; he usually does everything in his power to get across his point. And he has quite a way with words too. Like ‘Roses’ or ‘Mama’, beautiful and succinct. Or the passion/anger of ‘Monster’ and these songs (though I can’t hear Black Skinhead….).
Also, the instrumental aspect of his tracks has as much attention to detail as any of the lyrical work he’s putting in, which is not something that could be said of many hip-hop artists.
That’s the equivalent of saying a girl was ‘asking for it’, because you know what she’s like. Doesn’t make it any less of an assault.
I think since he didn’t ask her to do it, it was rape. As that’s the definition. That doesn’t justify his later reactions, but it doesn’t negate the initial rape. It’s a pretty bad state of affairs and Kitty seems to discuss it pretty well for someone who’s intimately involved in the whole situation.
That’s being quite optimistic… (optimistit?)
She is on the other nipple.
I think it’s actually a Bjork feat. Thom Yorke tattoo.
‘You can try the breast you can, you can try the breast you can. The breast you can is good enough…’
I wonder if the mystery release will be Radiohead’s studio time with Jack White? They said they recorded Identikit and I think other things,
Was it optimistic of me to hope that this would be featured in Where’s the Beef?
I never thought I’d see Stockhausen featured on Spin.