*Pictures courtesy of Zachary MooreIn what was undoubtedly one of the most anticipated releases of the year, albeit on short notice, In Rainbows managed to elude me for quite some time after its exclusively for download release. Between computer difficulty and (local) friends with no taste in music, it wasn't until Thanksgiving that I was able to sit down for a highly anticipated first listen. A bit surreal, as I was sitting in the waiting room of the hospital while my mother had an endoscopy, I was impressed nonetheless.
"Bodysnatchers" was an initial favorite. Always a sucker for a visceral guitar riff, the song takes off with an air guitar inspiring line that is tuned, produced or mixed in a manner that provide an added dimension. Sounds like it may have been recorded, or written, in a vacuum....in space.
"Nude (Big Ideas)" is cleaner, gentler than its two predecessors. For the first time on the album Thom's vocals are front and center, urged along by an otherworldly bass line and complimented by delicate guitar and atmospherics. "Don't get any big ideas, they're not gonna happen", this tune seems ripe with resignation. Prudent here and now, wherever you are, if you're paying any attention.
From macro to micro, "Weird Fishes/Arpeggi" reorients initially, focused on a singular person's power over another. The music even seems to provide some optimism that disappears just as the song seems to refocus on helplessness.
"All I Need" commences with a fuzzbox bass line that is soon joined by York's vocal. "You're all that I need" elicits thoughts of co-dependency devoid of any trace of taboo. By the time the piano ramps up and the song works towards its climax, you may just find myself happy and thankful to have ever had the privilege of leaning on another person.
"Faust Arp" introduces the acoustic guitar for the first time on the album. Seemingly to help withdraw the sentiments of "All I Need", something that made me uncomfortable at first, this is a finely crafted turn I've come to appreciate and embrace.
Now, with the benefit of having heard the album at least 20 times, "The Reckoner" has undoubtedly become a favorite. Comforting and beautiful, we are granted a pardon for all ills lamented over previously. This is a song, like "Atoms for Peace" on York's solo album, that elicits awe in the face of a singing voice the likes of which the world had previously never heard.
If anyone else ever opened a song with the line "I don't want to be your friend, I just wanna be your lover," I'd likely turn it off. With brilliance, however, comes more leash. At this point, I think it's safe to say there's nothing around Radiohead's collective neck. They can pretty much go anywhere and we'd follow them. "House of Cards" serves as affirmation.
"Jigsaw Falling into Place" finds each band member working in the same direction at the same time toward the same end, making it a bit of an anomaly on the album. It's befitting the lyrics, though, describing the manner in which chaos ends in order, in the form of two people pairing off.
Fittingly, the album closes with mention of death. In typical Radiohead fashion, the song is looming and ominous, beautiful, and cause for celebration. There really isn't anything else out there like them. No waining brilliance here. 9.5/10
"All I Need" commences with a fuzzbox bass line that is soon joined by York's vocal. "You're all that I need" elicits thoughts of co-dependency devoid of any trace of taboo. By the time the piano ramps up and the song works towards its climax, you may just find myself happy and thankful to have ever had the privilege of leaning on another person.
"Faust Arp" introduces the acoustic guitar for the first time on the album. Seemingly to help withdraw the sentiments of "All I Need", something that made me uncomfortable at first, this is a finely crafted turn I've come to appreciate and embrace.
Now, with the benefit of having heard the album at least 20 times, "The Reckoner" has undoubtedly become a favorite. Comforting and beautiful, we are granted a pardon for all ills lamented over previously. This is a song, like "Atoms for Peace" on York's solo album, that elicits awe in the face of a singing voice the likes of which the world had previously never heard.
If anyone else ever opened a song with the line "I don't want to be your friend, I just wanna be your lover," I'd likely turn it off. With brilliance, however, comes more leash. At this point, I think it's safe to say there's nothing around Radiohead's collective neck. They can pretty much go anywhere and we'd follow them. "House of Cards" serves as affirmation.
"Jigsaw Falling into Place" finds each band member working in the same direction at the same time toward the same end, making it a bit of an anomaly on the album. It's befitting the lyrics, though, describing the manner in which chaos ends in order, in the form of two people pairing off.
Fittingly, the album closes with mention of death. In typical Radiohead fashion, the song is looming and ominous, beautiful, and cause for celebration. There really isn't anything else out there like them. No waining brilliance here. 9.5/10
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