IRT Magazine

RADIOHEAD

In Rainbows (Self-released)

The question that arises when one listens to Radiohead’s new album In Rainbows consists of trying to figure out if it’s a good album because it’s actually good or if it’s good because Radiohead did something completely unprecedented and ridiculous. 

In Rainbows is a step beyond where 2003’s Hail to the Thief left off. Hail to the Thief was a pleasant merging of the two extremes of the band’s career–the electronic mayhem of the early millenium with the grungy Brit-rock of the 90’s–and it gave way to an innovative and awesome record. In Rainbows is this merging, but beyond that. It’s short, it’s sweet. It’s to the point. I’ve heard that this album doesn’t leave you wanting more, but for me it does. I feel like it’s over just as I’m starting to settle in. Nine songs, ending around the forty-three minute mark.

Thom Yorke’s lyrics, as always, are self-deprecating, introspective, often upsetting, always dark. They’re going along the same vein as The Bends and Pablo Honey did in the sense that they’re listenable and you’re not trying to pick at them and figure out what the meaning is. When you have someone singing to you something like “I’ll stay home forever/where two and two always makes a five” (from ”2 + 2 = 5” off of Hail to the Thief)  you have to wonder what that means. But In Rainbows‘ first track 15 Step sees Yorke opening up with “How come I end up where I started?/How come I end up where I belong?” like he’s trying to figure out why he can’t escape his comfort zone.

The songs on this album are both accessible and wrought with fear, which makes sense since Thom Yorke was quoted pointing out that the songs were written from a point where the band really had no idea what the future held.  “Bodysnatchers” brings us back to The Bends era, and Yorke tells us he has no idea what he’s talking about.  The terror is evident.  On “Nude”, he claims “You’ll go to Hell for what your dirty mind is thinking.”  Yeah, illegal downloading is, I’m sure, the eighth deadly sin.  “Weird Fishes/Arpeggi” is wistful and is the first time on the album where you feel any sort of release.  Despite grotesque imagery and harrowing lines about hitting bottom, there’s always the escape mentioned.

Maybe it’s the freedom of not being on a label right now?

“House of Cards” revisits the floating feeling of “Weird Fishes/Arpeggi”, but with half the comfort—a song about being in love with a married woman.  Two songs later, the album shuts down with Videotape, and Yorke says, perhaps prophetically, “When I’m at the pearly gates/This’ll be on my videotape.”  No joke, either, because In Rainbows is probably the endeavor Radiohead will be remembered for.

Generally, while Radiohead has made a living off of showing their fear, this album feels quite laid back despite the place it was coming from and the time it was being recorded. It’s almost like they’re breathing a sigh of relief. Like, “Hey, check it out. We don’t have a deadline. We don’t have to abide by anyone’s rules. We don’t have to sign anymore contracts. We can do what we want.” And that’s what they did.

And I think that’s what they want everyone else to do.

-Nicole Wertheim

Last Modified : October 19th, 2007
Filed under : THE RECORD BIN, reviews, rock
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