It's no secret that I'm a Radiohead fanatic. I remember buying Pablo Honey back in 1993, not because of the "buzz" hit "Creep", but after I heard the majestic album opener "You". I enjoyed the album but lost track of the band upon entering college. I became heavily exposed to The Bends, about a year after it was released, due to its heavy rotation at the coffee shop I frequented. That album floored me and I had to get every song Radiohead had committed to disc; thus beginning my "Great American B-Side Hunt" (a ritual that I had previously only granted to The Cure and Smashing Pumpkins). About a year into this manic obsession Ok Computer was released, which quickly became in my opinion (and that of a few other's) "The Greatest Album Ever Made". That was followed with the strangely different, but almost as good Kid A, the schizophrenic Amnesiac, and the enjoyable but overly long Hail to the Thief. Now they've released In Rainbows, which seems to have received more attention for the "how" rather than the "what". I intend to focus on the "what".
In Rainbows is a tight, ten track album that contains some of Radiohead's quietest, most lush numbers to date. It has the cohesiveness that Amnesiac lacked and avoids the bloat that hampered Hail to the Thief. In addition, there are less electronic clicks and squeaks that dominated the last three records. This might be due to Thom Yorke getting his laptop fetish out of the way and on his own solo record. The result is the most organic Radiohead album in ten years.
"15 Step" - A smart opener. It has the combination of electro-beats and live drumming that has become familiar and very much a part of Radiohead's sound since Kid A. Plus, there's a few pops and squeaks, as well as a sample of children cheering, thrown in for good measure. What sets this song apart from songs like "Idioteque" and "Everything in its Right Place" is its swirling guitar line and Yorke's soft, smooth crooning. Also, the bass dropping in and out is very reminiscent of "Airbag". So what we get is a little of the familiar with a little preview of what's to come.
"Bodysnatchers" - This is the one true rocker of In Rainbows. It has the guitar layering and directness of "Optimistic" and the crunch and burn of "Electioneering". The tension builds and builds, then the crunch gives way to a couple acoustic cool downs and jazzy drumstick clicking moments before guitars return and eat you alive. Given the sereneness of the remainder of the record, making this the second track was a wise choice.
"Nude" - I've been waiting for a studio version of this song for almost a decade. I first heard an early live version on the Meeting People is Easy documentary and was able to obtain a decent mp3 of that performance. The "final" version may not have the last verse or explosive ending of that early live take, but it is no less effective. This is the song that really sets the tone for the rest of the album and is highlighted by Yorke's soulful singing (this album is the best his voice has sounded since Ok Computer). Also, this is an excellent come down after the intensity of "Bodysnatchers".
"Weird Fishes/Arpeggi" - This song is a masterpiece of spinning guitars, tight instrumentation, lush singing, that crescendos in intensity in such a subtle way that you don't realize that you are in the middle of the tornado until after the house is off the ground. The band sneaks in layer after layer of guitars and keyboards as Phil Selway's drumming and Colin Greenwood's bass slyly pushes and accents the tempo. Also, this song features Ed O'Brien's distinct background wail which is always a wonderful counterpoint to Yorke's own beautiful singing. To continue the whirlwind analogy, half way through the song the instruments all pull back and we are left suspended in the air to float for a brief period, until the outro does a sonic reverse of the music that lifted us up at the beginning, and pulls us back to the ground.
"All I Need" - Another build up song that begins with some lumbering piano, some sparse drum beats, and Thom Yorke's voice. There's also some of the best glockenspiel work on a Radiohead song since "No Surprises". By now a pattern is forming: lush instrumentation, smooth vocals, and a song structured based on crescendo rather than verse/chorus. For some reason the lyrics, "I'm in the middle of your picture / Lying in the reeds" makes me think of LOLcats. I'm blaming Allison for that one.
"Faust ARP" - Here's the shortest song on the album, but it probably has the most lyrics. This is a quick acoustic guitar number that is accented with some beautiful strings, which were more than likely arranged by Johnny Greenwood. I'll take a quick and pretty song like this any day over album instrumental breaks like "Treefingers" or "Hunting Bears", or thematic throwaways like "Fitter Happier".
"Reckoner" - Like "Nude", this song has been around in the live set off and on for almost ten years. Unlike "Nude", it has been drastically reworked. Originally, "Reckoner" was a noisy rocker that would have probably matched "Bodysnatchers" blow for blow in power. With this finalized version, Radiohead not only slam on the brakes, but put the car in reverse. Instead of Yorke screaming like a maniac, he's made the decision sing in a sweet falsetto and layered crooning. Instead of screaming guitars at a breakneck speed, we get a single guitar with a stuttering picked part, piano hits, and strings. Also worth noting is Selway's amazing drumming on this piece. All these changes result with song that fits better on this album and a cool intensity rather than loud bombast.
"House of Cards" - A rare moment where the lyrics turn to love, sex, and relationships (at least, I think they do). Another sweet and gentle number where the impact is in the restraint. A lot of simple yet wonderful guitar work, from the soft ka-chunka rhythm guitar to the airy buzz work in the background and the simple quick lead licks. A straightforward song, but very pretty.
"Jigsaw Falling into Place" - The only other real "rock song" on the album. What makes this one different from "Bodysnatchers" is the level of restraint from Radiohead. Instead of blaring out with electric guitars, it is mainly dominated by acoustic ones. This is another song that builds and builds until Yorke's voice becomes more impassioned and the strings and cymbals begin to dominate.
"Videotape" - This song seems like a throwback when compared to the rest of In Rainbows. It's more in the vain of a murky ballad like "Motion Picture Soundtrack" or a piano and drum looper like "Pyramid Song". It's not a bad song, but it doesn't seem to gel well with the nine that came before it.
Radiohead are not trying to reinvent the wheel with In Rainbows. They seem more relaxed and have delivered as beautiful an album as they ever have. It may not have the instant classic feel of The Bends, Ok Computer, or Kid A, nor does it suffer from the problems that Amnesiac or Hail to the Thief had (Pablo Honey is an beast unto itself, but has aged quite well, to tell you the truth). Also, this is the most collective as a band they've sounded since Ok Computer. They may not be breaking new ground with this record, but Radiohead isn't repeating themselves either.
Overall: A-
