Jump to content

tybalt

Members
  • Content Count

    73
  • Joined

  • Last visited

  1. yeah you can picture them just vaguely floating around during the album's trancey hypnotic moments...almost a kind of nintendo vibe or cave story vibe with in rainbows i picture the album artwork like the brushstroke sounding drums on reckoner, and the strings on nude and in general ok computer's artwork makes me think of let down, kid a's makes me think of eiirp
  2. your sig is fugly seriously its more offensive than anything else on this board
  3. no you're all wrong Amnesiac The King of Limbs Kid A In Rainbows OK Computer Hail to the Thief Airbag EP yeah that covers it. all of it.
  4. tsingtao is champagne compared to PBR seriously PBR tastes like shit at least Tsingtao is better than budweiser and the other free flow pisswaters
  5. also if you play bloom, then separator and then Feral twice, it goes extremely well with PBR SYNCHRONICITY GUYS
  6. if you get 2 separate copies of the album playing at the same time, one playing normally and the other starting backwards from separator, then tilt your head backwards and pretend to shake a salt shaker onto your tongue, you will actually taste salt
  7. no wonder it took them so long and then they just threw together some platitudes It’s difficult to write concisely about this band. Radiohead is almost a bad joke at this point- the entire circus of frothing mouth debate amongst fans about whether the new direction is a good thing coupled with critical anxiety about scoring it right for the record. The aura of historicity, along with the band’s usual attendant ambivalence further obfuscate the only thing that matters; It’s irrelevant whether the record is “great” the way Kid A was when it supposedly changed the world. The comical proportions of the band’s place in whatever nebulous canon of music one wants to idolize are a holdover from the days of major label dictated agendas. With millions invested in recording and marketing, advertising agencies and music magazines have been complicit in creating a culture of biblical narration surrounding albums from golden geese bands that could be critical darlings furthering the boundaries of art without compromising customer satisfaction. The awed reverence for the band’s output from OK Computer through In Rainbows is therefore, whether we like to admit it or not, partially informed how much money was involved. For the labels, for the arena concert promoters, for the magazines that were reviewing the music alongside the likes of Oasis and Coldplay, furthering the impression that we’re dealing with gods amongst men, supreme beings that only grace this world with their presence once in a generation. The idea of hierarchies in art, and the petulant instinct to prescribe value akin to consumer guide reviews of electronics or cars work to further fan the flames. Inevitably, first impressions of music tend to focus on the sound, and we initially gravitate towards comparisons with previous albums. But all these checklists are particularly meaningless with this band; the reason academics write dissertations on Kid A has nothing to do with “innovating” and “expanding the horizons of rock”- these, again, are sales pitches more than anything else. The only real reason for the band’s enduring reputation is the depth of nuance in the albums as complete artistic statements in and of themselves; for example, Amnesiac repeatedly evokes the cognitive experience of forgotten memories; You and Whose Army makes use of vintage aesthetics, instrumentation and sound engineering, while the vocal delivery of the call-to-arms lyrics undercuts their meaning with its affect of exhaustion and impotence, implying that the person singing has already been defeated and rides in knowing it will happen again. The track culminates in a declaration that “we ride tonight” before edifying that their horses happen to be ghosts, thereby imbuing the track with an eerie supernatural feeling akin to an “echo” of the cyclical bloodshed and evil in our history that seemingly repeats itself indefinitely. It plays on the listener’s association of antique recording equipment and its characteristic vinyl hiss and low fidelity crackling with the nebulous idea of “the past” lending the impression of simultaneous familiarity and uneasiness much like a deja vu. Stanley Kubrick’s version of The Shining explores a very similar concept. The point is that attempting to approach that album with baggage from previous experiences only obscures what it actually sets out to do Understanding any album for what it is therefore requires understanding what it is not, and seeing it in its own light. While The King of Limbs is comparatively unambitious if compared to the exploration of psychosocial angst or emphasis on sheer beauty and ideal proportion that marked previous records, it isn’t without reason for existence; It is an organically unified artistic statement with original ideas, compellingly executed and austere in its succinctness. Praise is well and good, but it’s the how and why that are relevant. The sonic modality here is comprised of simple instrumental parts that take on a considerably different purpose when stitched into a sequenced, syncopated tapestry of sound. In a sense Radiohead is playing like a digital jam band, taking miniature, crystallized moments spontaneous expression and recontextualizing them in the manner of sample based music. It’s a crucial difference, given that all their previous work that carries the “electronica” stamp actually used electronic instrumentation in compositions that were still fundamentally traditional rock in terms of structure. But if they were simply content to be the 21st century Phish, they would release tracks for free, which they can and have done, without bothering to call it an “album” with its own name and artwork. As much as the word is unwieldy and carries tacky connotations, “spiritual” is the best description of the album's sensibilitlties. Which has nothing to do with religion or Yoga, and everything to do with the band's interest in binaural recording, pulsating rythyms and the way the human body physiologically processes sound with corresponding muscular response. Spirituality is fundamentally about mind-body awareness, and the intersection between physicality and cognition; the totality of human perception and the way it informs our experience of the world. Yorke gets straight to the point in the opening lines of Bloom, the first track: Open your mouth wide
universal sighs
and while the ocean blooms
it's what keeps me alive He stops just short of saying “take a deep breath”, but the agenda becomes clear. You hear him audibly taking in air between lines. At the beginning of “Little by Little” his voice hides low in the track mumbling the chorus in abbreviated form, stressing the consonants before the song proper starts. The music pulls and prods at you incessantly, from all directions, and the bottling up of echoes and white noise is used to chilling effect on Give Up The Ghost, where it feels like the listener is standing in front of Yorke singing while disembodied ghost voices sing back and float around behind the listener’s back and to the sides. The guitar work towards the end of closer gives the minimalism of The xx a run for its money- the notes played are simple and unremarkable but incorporated into the mix, it serves to stimulate a neural response that dovetails perfectly with the closing refrain- “wake me up”. The record is steeped in three dimensional movements of sounds of varhly variable texture and fidelity. This approach was also present on In Rainbows, most notably in the sound engineering on All I Need, which makes use of white noise to simulate the way the human ear perceives the noise a band makes when playing loudly in a room, and House of Cards, which buried various recorded echoes and resonant frequencies into the mix. This studio technique could be argued to be the main instrument on the album, and more than ever before, producer Nigel Godrich is singularly responsible. On this record, he is effectively a member of the band, seeing as there is no feasible way these tracks could be put together otherwise and sound even remotely compelling. The key to listening to this record is to not visualize the instrumentation or anything resembling a live band. A song like Bodysnatchers can still be understood while visualizing the band playing, since traditional instruments evoke similar neurological responses in the motor areas of the brain used to physically play them. But this mindset goes nowhere on The King of Limbs- Radiohead has stripped itself down, and asks the same of the listener, to only listen to the sounds as though the entire thing was synthesized on a laptop. It’s in keeping with the title, The King of Limbs brings together simple ideas that don’t sound like much on their own, but sequenced together, form a sensual and organic whole- not unlike the way the brain brings the four limbs together to generate the music of a living, breathing human being. © almost there productions 2011 don't steal this shit bitch xo
  8. THEY SAMPLED BLACK SWAN WHY CAN NO ONE ELSE HEAR IT
  9. Given that they've beaten the miserable troll schtick to death and then reanimated it with sequencers to do it all over again, everyone's favorite mopey schoolboy clique knew they had to emphasize their pretentious sense of aesthetics while repressing their abhorrent personalities somewhat on In Rainbows. The result was somewhat Bono-ish but largely achieve the band's petulant goals. It will surprise no one then, that The King of Limbs is truly a departure for Radiohead- they have never so unrepentantly and unpretentiously embraced awfulness until now. Think Tommy Wiseau meets Joe Satriani for a collaborative project- on LSD. The opener, Slave, crudely samples Velvet Underground's Venus in Furs. Jonny Greenwood arrogantly attempts to superimpose and interpolate his own string arangements over John Cale's. The problem is that the sonic fidelity on the VU sample is too jarring, and Yorke or Godrich or one of those idiots attempted to paste in a James Blake-ish sub bass midi note or something. I skipped to the next track. It sounded like a retread of House of cards except it had this gimmick where Thom would tap on the mic and then this would get sampled on some kind of sampler or sequencer and fucked with until it sounds truly menacing by the end of the song- but by then I'd forgotten what misery-man Yorke had been singing about. I hit repeat and tried to listen to the track again, and he truly sounds emotionless now- not dead or flat, but just like a pretty choirboy, trying to catch the eye of a cardinal. I looked at the tracklisting and saw that the song was called Give up the Ghost. I wonder what it was about. Maybe I like this nebulous, vague, dazed prozac version of Radiohead more? But alas, it's a momentary lapse. The next track, entitled The King of Limbs is an instrumental that simply features guitars that literally sound like they're drowning under all those effects, played over a 4/4 dub house line with random high pitched helium vocal samples every 8 bars. Enough is enough. I can't deal with this garbage anymore, someone else find the leak and review the rest of this album. I'm going to go listen to The National some more. After that fucking carbon monoxide bong hit of awfulness I need to listen to some real music.
  10. There was a time when autistic crybaby Yorke used to rigorously self censor material; B side material stayed on B Sides, and the album tracks, mediocre as they were, generally subscribed to some aspect of melody, rythym and harmony. To put it more simply, you could tell he was trying, and you could see the difference it made. It seems we will be looking back on the good old days with some amount of nostalgia. Could it be that such a voice only had appeal in the context of Donald Rumsfeld being on TV? Apart By Horses is comprised of bhangra outtakes from the original Reckoner, when it was the original Reckoner and not what would today be called the original Reckoner. He replaces the chorus with a jazzy polyphonic ringtone, and abandons all notions of track structuring and length considerations in order to finally indulge, like a 14 year old who's gone a fortnight without wanking. As for the Hollow Earth, it's actually pretty good.
  11. http://www.wallofice.com no longer redirects to waste but has this text + a short instrumental. i don't think i've heard that instrumental before. doesn't sound like rh...
×
×
  • Create New...