Here are two things that I have read recently about
the new Radiohead. I don't know if this will shed any
light on what tunes are suppose be sort of like
Autechre..or whatever
quoted 69 lines RADIOHEAD RETURN!
> RADIOHEAD RETURN!
> RADIOHEAD played the opening date of their first UK
> tour for more than three years earlier tonight
> (Friday
> September 1) before a crowd of 10,000 in a
> purpose-built marquee in the grounds of Newport
> Tredegar Hall in Wales - the band emerging in a haze
> of red light to bring their "genuine freakshow" to
> life.
>
> New album 'Kid A' might be the record that arrived
> with a manifesto of minimal guitars and a a
> blueprint
> inspired by Aphex Twin and Authechre, but live
> tonight, new songs like 'The National Anthem' - a
> powerful opener packed with juddering 'Bends'-style
> intent - and the ferocious, focused 'Optimisitic',
> reminiscent of My Bloody Valentine's 'Isn't
> Anything'
> LP - are fleshed out by a more conventional guitar
> style.
>
> 'Bones' and the sombre 'Morning Bell' - with lead
> singer Thom Yorke at the piano - complete the
> initial
> burst of songs in the first part of the set.
>
> Yorke remains in a taciturn non-committal mood
> throughout the show. His comments remain limited to
> "thank you very much", yet his convulsive dancing,
> fervent tambourine shaking and cryptically Stipe-ean
> hand gestures, which are relayed on a trio of screen
> above the audience's heads, his demeanour is
> probably
> more eloquent than any amount of onstage banter.
> However, Ed O'Brien and Jonny Greenwood more than
> make
> up for the singer's reticence with a traditionally
> fervent blur of hair and enthusiasm.
>
> After a startlingly vehement 'Paranoid Android' and
> an
> ecstatically-received 'My Iron Lung', the excitable
> recognisation factor dips and a more muted mood
> takes
> over as the band push into all-new material.
>
> The weirdly discordant disco 'Idioteque' sees Yorke
> dancing around in a compulsive circle, jerking his
> arms in a strange private code. 'You And Whose Army'
> is pure piano evil, accompanied by the sardonic
> grinning that was a feature at the band's recent gig
> at Scott Walker's London Meltdown Festival, while
> 'In
> Limbo swirls around the line "Where did you park the
> car?" and a needling, insistent guitar.
>
> 'Everything In Its Right Place' is a particularly
> bizarre closer with minimal electric piano twisting
> around, following its own internal logic.
>
> If the audience are in danger of leaving
> disappointed
> though, they're soon treated to encores of 'The
> Bends', 'Street Spirit' and the new, yet relatively
> accessible 'I Might Be Wrong'.
>
>
>
_______________________________________________________
quoted 127 lines 'KID A' - THE CD REVIEW
>
>
> 'KID A' - THE CD REVIEW
>
> Radiohead give birth!
> RADIOHEAD?s 'KID A' was unveiled in its entirety to
> a
> select group of fans in LONDON this afternoon
> (August
> 17) - and nme.com has the first full review of this
> year?s most eagerly anticipated release.
>
> An ambitious experiment in ambient beatscapes, it is
> permeated by a mood of breakdown and psychosis, with
> layers of repetitive loops and synth effects suggest
> the band have been absorbing Boards Of Canada, Aphex
> Twin, Brian Eno and DJ Shadow. There are no obvious
> melodies such as on 'No Surprises', it is more
> 'Airbag', the music shaped from rhythmically complex
> drum patterns and Thom Yorke more concerned with
> yelping and cooing than actually singing, suggesting
> his collaboration with Bj?rk, on the 'Dancer In The
> Dark' soundtrack, has left an impression.
>
> First track 'Everything In Its Right Place', is
> typical of whole album, built around a simple,
> looped
> organ line and a pulsing, disembodied beat, overlaid
> with cut-up vocal snippets from Thom.
>
> The title track follows, with pattering drums
> underpinning organ chimes and strange sonic
> glitches,
> while Thom's hiccuping, vocodered vocal is
> reminiscent
> of the dwarf from 'Twin Peaks'.
>
> 'The National Anthem' is the most radical thing
> Radiohead have done so far. A homage to DJ Shadow,
> its
> propulsive drums and echoing, jazzy horns build to a
> dark, hard climax.
>
> 'How To Disappear Completely' is almost a relief
> with
> its acoustic guitar. This is the most conventional
> song on the album, a woozy, baroque epic reminiscent
> of R.E.M.'s 'Sweetness Follows'. Thom's voice comes
> through untreated for the first time, singing "This
> isn't happening", and heightening the mood of
> breakdown and psychosis which runs through the whole
> album.
>
> 'Treefingers' is an ambient instrumental which
> recalls
> the soundscapes Brian Eno created with David Bowie
> on
> 'Low'. Like much of abstract noise on 'Kid A' it
> evokes the kind of sound effects normally heard in
> '70s sci-fi movies like '2001: A Space Odyssey'.
>
> We hear a riff for the first time on 'Optimistic', a
> glowering, almost funky riot of primal, tom
> tom-heavy
> drumming and Thom's wailing vocal. Again, Thom's
> voice
> skirts around an ethereal melody line, before
> collapsing in groans.
>
> On 'In Limbo' Thom admits, "I've lost my way", which
> seems to sum up the general tone of his lyrics on
> 'Kid
> A'. Thom sounds like he's in the middle of a nervous
> breakdown.
>
> 'Idioteque' is the track that sounds least like
> Radiohead, as a punishing, Aphex-style breakbeat
> crashes in, and piston rhythms underpin a mad Thom
> vocal about how "I laugh until my head comes off".
> Again, Thom's playing with phrases and looping
> cut-up
> snippets of his voice over and over, building up
> repetitive layers of noise. Now he's singing "This
> is
> really happening", seemingly unsure whether to
> believe
> it or not.
>
> 'Morning Bell' is rooted to a stuttering drum
> pattern,
> and again finds Radiohead playing with synth loops
> and
> FX. It leads us into 'Motion Picture Soundtrack', a
> Bj?rk-ish wash of warm hammond organ and spiralling
> harp, with Thom whispering "I think you're crazy
> maybe". It ends the album on a note of almost
> heavenly
> yearning. There's a pause, then a brief blast of
> billowing FX noise. Then, after almost 50 minutes,
> it's over.
>
> There's no obvious choice for a single on 'Kid A',
> though it seems likely that 'How To Disappear
> Completely' and 'Optimistic' will be considered.
> It's
> a brave move to come out with something so abstract
> after the prog-epic Pink Floyd-isms of 'OK
> Computer',
> but it generally succeeds in its attempt to
> assimilate
> their more electronica-based influences, and create
> an
> expressionistic suite of music rather than an album
> of
> individual songs. If the dark, fevered,
> schizophrenic
> mood of the album reflects Thom's mindstate at the
> moment, though, the forthcoming series of UK live
> shows should prove very interesting indeed.
>
>
>
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