Radiohead - 'Amnesiac' (Parlophone)
5/5
By: Toby L
After the bold and genuinely astounding 'Kid A', released last year, Radiohead really have proved themselves to be one of those rare bands that deserve the title 'revolutionary' - an impressive feat, especially considering when they evolve at a rate that has often dumbfounded those that just don't get it. With the release of yet another stunning album, 'Amnesiac', rockfeedback is providing a track-by-track analysis to help explain what makes this such a masterpiece.
'Packt Like Sardines In A Crushd Tin Box'
Where 'Idioteque' was all frantic beat-loops and keyboards samples, 'Packt...' delivers stage two: a more vocally-devoted, electronic affair, Yorke's computer-altered voice compelling, especially when uttering 'Get off my case' with the most menacing of undertones. A creeping rhythm develops into an ease-you-in and hypnotic opener, setting you up for the rest of the advancing ten tracks.
'Pyramid Song'
The first single to be lifted from this, Radiohead's fifth LP, 'Pyramid Song' sure enough possesses the bold string arrangements that wouldn't have been out of place in the desert-flaunting 'Stargate' movie, which came out a few years ago. Played best at a loud volume, the full dynamics of a haunting and eerie, piano-led number fill your head and float around whilst you can only sit back and absorb it all, lost in a landscape of mirage-tinted, Egyptian splendour.
'Pull Pulk Revolving Doors'
Stylophone-soundalike manipulation on Thom's vocal chords allows the lyrics to be indecipherable, but nonetheless relevant as effects reminiscent to those which appeared in the background of many-a-'Dr Who' episode whizz around the speakers. The same, uncompromising, commanding beats prowl throughout, ploughing into yet more uncharted territory for this Oxford five-piece.
'You & Whose Army?'
One of last year's highlights from the band's now notorious tent-tour was, for some, this very tune: an ambient and soft guitar-based - yes guitar - number, with the band's joining in with Johnny Greenwood and Thom Yorke sounding sublime, swooning and unshakeable. Even though it's little over three minutes in length, the reminiscence of gospel in the harmonies and chord structure will have you pinching yourself to check if you're still alive, or indeed travelling to the heavens above.
'I Might Be Wrong'
Starting as if Radiohead were returning to the brashness of old - except maybe in some kind of country and western pastiche-hook - vocals hover in the back as instruments take pride of place in the foremost of the composition. The rousing organ soon transcends into bringing the track within a few minutes to a musical-breakdown, the initial elements that held it all together decomposing into almost a different song.
'Knives Out'
The thrust of the vastly-gifted singer's bellows into 'Knives Out's opening seconds hints at the melody locked within the slower embers of 'Paranoid Android', the epic placement of different hooks and strummed guitar fits together like a jigsaw puzzle, thrilling and touching any audience. After repeat listens, it's indisputable that this will enchant and ensconce you into a happier state of mind.
'The Morning Bell Amnesiac'
At the beginning stages, 'The Morning Bell Amnesiac' - based on the vocals, lyrics and melody of 'Kid A's rendition of this track, which was then known as 'Morning Bell' - lacks the bass it needs to lift it from the ground. However, sure enough, half way through, it kicks in, providing a far more moving and sincere take on the original recording.
'Dollars & Cents'
The strings follow Thom's every rise and duck into the pool of song notation that makes his style so unique and distinctive as this great live track progresses. The bass-guitar takes lead role as the part which leaves a mark in your mind, but the textured percussion has something of a mysterious appeal, along with the guitar which follows suit right to the finish, almost spooky enough to appear in a horror, slash-em-up film soundtrack.
'Hunting Bears'
Conjuring up images of bears - quite suitable to its name - possibly hunting in caves, this short instrumental barely leaps to the potential it has to explode into an all-out electronic stomp. Radiohead clearly seem content with leaving some of their music open to little variation from its original demo-stages, maybe providing the attitude of 'why touch something that speaks for itself?'
'Like Spinning Plates'
This trippy fest of mind-altering treats is mind-boggling: as the bizarre music graces your mind, a panicky array of fuzzy, high-noted electronica sinks beneath a separated hymn of despair, travelling into an ocean of intrigue and melancholy... Obviously, best heard than described.
'Life in a Glasshouse'
The jazz influence, which underpins many of this album's key moments, is revealed in its full, conclusive form within 'Life in a Glasshouse'. A guest appearance from Humphrey Lyttleton on trumpet adds a layer of parping, brass blasts of mania, overshadowing a strong band performance, altogether allowing hardly easy listening, but still a magnificent climax to a very fascinating journey.
Radiohead are once again burrowing into the unknown; we may not know where they're going, but let's at least try and keep up.
Artists in this article: Radiohead
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