The release of a new Radiohead album is essentially the Superbowl for hipsters and music aficionados. It doesn't happen often, but when it does, the internet will surely fall into an unfathomable black hole of fanboys and elitism. Eventually, we are shrouded by endless debates comparing all eight LPs. Some choose to argue of Radiohead's ever-changing music direction while others whine of the album's length. By the end of the week, you'll be wondering if this isn't just an album but a cultural event taking place worldwide on the Internet.
The irony about all of this is that The King of Limbs, Radiohead's eight studio LP, is probably their most relaxed and subtle album yet. The guitar takes a backseat, instead replaced by repeating samples and buried synths. The band has never been so restrained before with their respective instruments. By sacrificing individual selfishness, the songs easily piece together forming a cohesive album rather than specific singles. It's a bold move from a band that looks at boldness as a virtue, and it's easily the most notable part of TKoL.
That being said, TKoL's subtlety is almost weakness. “Bloom”, “Little By Little”, and “Feral” are grandiose statements to Radiohead's rabid fans, but the impressive creation of these songs are masked by the lack of noteworthy riffs and moments. By just mentioning Kid A, fans will instantly think of the transcendental piano in “Everything In Its Right Place”, the feverish bassline from “The National Anthem”, the pulsing electronic punches from “Idioteque”; but what's Kid A without these movements? I'm not saying TKoL lacks catchy riffs, but compared to previous releases, TKoL relies much more on the atmosphere and the emotion. It's almost inoffensive, to the point where Radiohead is taking a chance by not taking any chances whatsoever.
But this is a fan base that has relentlessly followed a group who has consistently redefined their image. The fans are hungry, and the hype behind this album can only tell you the amount of pressure Radiohead faces. In the spirit of keeping their dedicated fans on their toes, Radiohead surprised everybody with the abrupt announcement of their 8th LP. There was no information, not even a tracklist, but a quick google search would already find you dozens of theories and predictions on what the influential band would do next. And if the hype – which had only been building for four days – was potentially too much already, Radiohead again surprised everybody by releasing TKoL a day early.
Album opener “Bloom” sets the stage for Radiohead's most inaccessible album yet. Think Amnesiac, but less guitar and more emphasis on looping. Yorke has never sounded better, and his falsetto voice matched by the trippy sample cuts and dissonant bass are reminiscent of Flying Lotus and other experimental electronic musicians. The lyrics, short and to the point, carry the song like the band's key instrument. There's obvious jazz influence littered on the guitars and percussion and the effect-ridden horn samples only add to the song's mystery.
The abrupt segue into “Morning Mr. Magpie” feels slightly more natural. It's possibly a rejected In Rainbows single, but the emphasis on production rather than the individual instrumentation remains as prevalent as ever. The guitar stays at the rear, adding quiet but efficient details while Yorke defiantly sings: “You got some nerve / coming here”. It feels like he's singing right to the fans, acknowledging their stubborn dedication towards the band's experimentation.
“Little By Little” reaches out with level headed guitar, performed with such brevity that it's one of the album's most powerful moments. The album is full of these slight eccentricities, such as the horns in “Codex” or the lively guitar in the outro of “Seperator”. These small additions might seem like nothing to the average listener, but repeated listens increase there value.
It's to the point where TKoL might be Radiohead's biggest grower of an album yet. The album is so densely put together that you'll get lost in it's vastness, and with only a single non-attentive listen, one could easily disregard this as a poor attempt at creativity. But after spending a weekend with TKoL, my cautious optimism proved worthwhile. It's an album that's full of surprises, one that reveals itself with time and some dedicated listening. It lacks important moments in the foreground, but makes up for it with production and attention to detail. TKoL might not be the most approachable release, but it certifies itself as a unique release in Radiohead's unpredictable universe; only time will tell if this growing versatality will continue down the road of experimentation.
4/5
Recommended Tracks: "Morning Mr. Magpie", "Little By Little", "Lotus Flower", "Seperator"
