Zero
07-12-2006, 07:15 AM
OK - not that anyone cares, but here is my (probably too long)review of the new Thom Yorke album (he's lead singer of Radiohead) The Eraser.
Most of my friends say they love 'old' or as some put it 'real' Radiohead. This basically tranlates to everything up to and including OK Computer. As with many fans of the 'old stuff,' with Kid A the band didn't just jump off the deep end, they moved in with the deep end and began a family. For these folks, things did not improve with Amnesiac (indeed, they became worse) and, due to this utter contempt, they gave the later Hail to the Thief only a cursory listen before dismissing it as well.
Now, I'll admit to not even buying Kid A for about a year after its release. I made the mistake of reading a review of the album by Nick Hornby who basically called it an 'anti-music' vanity project designed to irritate fans. I say this was a mistake because once I finally got around to picking up the album and gave it a few listens I realized that this was an amazing piece of work. A truly different concept of a 'pop' album and, in many ways, the only logical direction to go after the utter brilliance of OK Computer. Did that mean that Kid A or its siamese twin Amnesiac were as good as OK Computer? No, of course not. That's like asking if Let it Be is as good as Sgt. Peppers; its not, but that's not the point.
In relation to all the various reactions to Kid A and Amnesiac, Hail to the Thief can be seen as either a reversion, of sorts, to the old ways - its much more song-oriented and features more of that distinctive Radiohead guitar - or, more optimistically, a synthesis. In all fairness, I suspect that as good as Hail to the Thief is as an album it ultimately is at least as much a digression back to the formula of OK Computer as it is an attempt to synthesize this formula with its progeny.
All of which brings me to Thom Yorke's first solo album - The Eraser. For those wondering if its a radical departure from the sound and feel of Radiohead the answer is an unequivocal 'no' (or at least 'not really.') Much as with Tom Petty's solo work, one could easily ask why this isn't a Radiohead project and, in fairness, it could easily fit into a slot in-between Amnesiac and Hail to the Thief. But, if anything, the sound and feel of Eraser suggests that Yorke was not done exploring the possibilities afforded by their excursion into the electronic world of anti-music in Kid A.
The Eraser is not Kid A2. In many ways it is a more dramatic example of synthesizing the arhythmic and ambient noise of that album with the one thing Yorke and his bandmates had been so good at in previous albums, making individual songs that fit together but remained distinct. Eraser is filled with truly catchy tunes that create a fabulous tableau to feature Yorke's distinctive angst-filled voice. The opening title track carries a stuttering piano chord into an increasingly complex electronic mix of sounds and beats as Yorke cries "the more you try to erase me. . . the more that I appear." The opening of "The Clock" is reminiscent of the first track of Amnesiac but then flows into a more rythmically driven bass-line as Yorke laments the inevitable movement of time.
The album is carried through by this combination of electronic ambition and pop sensibility and, of course, by Yorke's distinctive lyrical and vocal abilities. This combination works well in songs like "Black Swan," "And it Rained All Night" and "Cymbal Rush." And, not quite as well on tracks like "Skip Divided" and "Atoms for Peace." But, in the end, this album hangs together and the individual tracks are all strengthened by the presence of the others.
Ultimately, this albums is not so much a solo departure from the musical ground Radiohead have beenn tilling for the past decade but more of a exploration of a road not taken. And, its a journey I think anyone who appreciates the audacity of Yorke's band will be happy to take with him.
Most of my friends say they love 'old' or as some put it 'real' Radiohead. This basically tranlates to everything up to and including OK Computer. As with many fans of the 'old stuff,' with Kid A the band didn't just jump off the deep end, they moved in with the deep end and began a family. For these folks, things did not improve with Amnesiac (indeed, they became worse) and, due to this utter contempt, they gave the later Hail to the Thief only a cursory listen before dismissing it as well.
Now, I'll admit to not even buying Kid A for about a year after its release. I made the mistake of reading a review of the album by Nick Hornby who basically called it an 'anti-music' vanity project designed to irritate fans. I say this was a mistake because once I finally got around to picking up the album and gave it a few listens I realized that this was an amazing piece of work. A truly different concept of a 'pop' album and, in many ways, the only logical direction to go after the utter brilliance of OK Computer. Did that mean that Kid A or its siamese twin Amnesiac were as good as OK Computer? No, of course not. That's like asking if Let it Be is as good as Sgt. Peppers; its not, but that's not the point.
In relation to all the various reactions to Kid A and Amnesiac, Hail to the Thief can be seen as either a reversion, of sorts, to the old ways - its much more song-oriented and features more of that distinctive Radiohead guitar - or, more optimistically, a synthesis. In all fairness, I suspect that as good as Hail to the Thief is as an album it ultimately is at least as much a digression back to the formula of OK Computer as it is an attempt to synthesize this formula with its progeny.
All of which brings me to Thom Yorke's first solo album - The Eraser. For those wondering if its a radical departure from the sound and feel of Radiohead the answer is an unequivocal 'no' (or at least 'not really.') Much as with Tom Petty's solo work, one could easily ask why this isn't a Radiohead project and, in fairness, it could easily fit into a slot in-between Amnesiac and Hail to the Thief. But, if anything, the sound and feel of Eraser suggests that Yorke was not done exploring the possibilities afforded by their excursion into the electronic world of anti-music in Kid A.
The Eraser is not Kid A2. In many ways it is a more dramatic example of synthesizing the arhythmic and ambient noise of that album with the one thing Yorke and his bandmates had been so good at in previous albums, making individual songs that fit together but remained distinct. Eraser is filled with truly catchy tunes that create a fabulous tableau to feature Yorke's distinctive angst-filled voice. The opening title track carries a stuttering piano chord into an increasingly complex electronic mix of sounds and beats as Yorke cries "the more you try to erase me. . . the more that I appear." The opening of "The Clock" is reminiscent of the first track of Amnesiac but then flows into a more rythmically driven bass-line as Yorke laments the inevitable movement of time.
The album is carried through by this combination of electronic ambition and pop sensibility and, of course, by Yorke's distinctive lyrical and vocal abilities. This combination works well in songs like "Black Swan," "And it Rained All Night" and "Cymbal Rush." And, not quite as well on tracks like "Skip Divided" and "Atoms for Peace." But, in the end, this album hangs together and the individual tracks are all strengthened by the presence of the others.
Ultimately, this albums is not so much a solo departure from the musical ground Radiohead have beenn tilling for the past decade but more of a exploration of a road not taken. And, its a journey I think anyone who appreciates the audacity of Yorke's band will be happy to take with him.