By offering a pick-your-price internet download last month as well as an official CD release next week of its seventh studio album In Rainbows, English rock quintet Radiohead has managed to find a way to cater to its fanbase. Those who just want the music can get it for free (and legally) if they want to, and established enthusiasts can pre-order the physical copy of the 10-song album to be unleashed next week with an eight-song bonus disc as well as two records and artwork.Fans will likely appreciate the simple fact that the group is back after a four-year absence, but what matters most is the extremely high quality of the album. Producer Nigel Goodrich, who has previously worked with the group, is back behind the controls, and he never disappoints.
After Thom Yorke began implementing more electronics and drum machines at the beginning of the decade, the rest of the members seemed to take a back seat, particularly on the 2003 album Hail to the Thief and on the 2000 release Kid A, arguably the most recognized of the band’s existence. The release of In Rainbows marks an evident team effort and emphasizes the group’s status as one of the most prolific and talented popular groups of our time.
While the majority of the material showcased is not exactly brand new, (eight of the ten songs had been previously performed live) it is concise and solid. The overall sound hearkens to the days of releases such as The Bends and fan favorite OK Computer.
The opening track “15 Step” kicks off with Yorke alone, accompanied by a drum machine looping in a 5/4 time signature, singing in his signature falsetto style. Drummer Phil Selway then joins with a simple, effective rhythm. The group restrains itself from getting volume-heavy until the dying moments of the song.
A more straight-forward approach is applied in “Bodysnatchers.” The beefy guitars of Jonny Greenwood and Ed O’Brien take the forefront.
“Nude” showcases another brilliant vocal performance from Yorke. He shines and controls his volume while reaching the high notes.
The intensity resumes on “Arpeggi,” this time with layers of intricate guitar work and melodic percussion. There’s plenty of energy and noise, but everyone is careful not to go overboard.
The band shifts direction again and settles into a mid-tempo funk groove on “All I Need,” this time incorporating an array of strings and pianos to bring more depth.
For “Faust Arp,” and “House of Cards,” the band mellows out considerably before picking up the pace on “Jigsaw Falling Into Place,” the album’s first single. “Videotape” closes out the album in compelling fashion, with several layers of vocals and some stand-out percussion from Selway.
The quintet from the other side of the pond is sounding as great as ever. There are no weak moments and nothing here teeters on filler. This is an instant classic. It might be the must-listen rock album of the year and definitely deserves to be considered as one of Radiohead’s best.