After gaining both critical and popular success with their smash hit “Creep” in 1992, Radiohead has continued to release albums of phenomenal content over the years, and their latest, In Rainbows, is no exception. Although the band had released the songs themselves to be purchased online in October of 2007, the newly released CD-version of In Rainbows is yet another triumph for the British imports.
The band began recording In Rainbows, their seventh studio album, in 2005, but after becoming dissatisfied with the bureaucracy surrounding the recording industry, they decided to release the album themselves online — with prices decided by the consumer. Although it was quite a leap of faith for Radiohead, the band reported that over 1.2 million copies were sold online before the Jan. 1 release date of the album version.
The disc has an enchanting, dream-like quality permeating throughout, and although all 10 songs are incredibly well done, several stand out above the rest.
“Bodysnatchers” has excellent guitar backing, muffled lyrics and mysterious tone — what fans will instantly recognize as classic Radiohead — and its subtle yet powerful political and social commentary is not only effective, but also a nice change from the blatantly overt and imagination-lacking cries so often heard from artists today. Lines like, “Has the light gone out for you because the light’s gone for me; it’s the 21st century,” are thought provoking and commanding, and the ominous message, “I’ve seen it coming,” ends the song with a bang.
“Jigsaw Falling into Place” provides an excellent change of pace for the record, relying mostly on acoustic guitar and strong vocals. The song slowly builds up to a more instrument-heavy track. Moreover, lyrics that on the surface tell a story of a potential hook-up at a bar gone wrong somehow manage to gain deeper meaning, as only Thom Yorke’s haunting voice can accomplish.
But the true triumph comes with the song “House of Cards,” which utilizes slow and heavy guitar and bass, as well as some well-placed use of a synthesizer, to create a song reminiscent of psychedelic classic rock, à la Monterey Pop Festival or a Pink Floyd concert. It’s a love song of sorts, and even though the lyrics are fairly impressionistic, they somehow manage to give a clearer visual picture than any piece-by-piece description could ever dream to provoke. It sounds as if Yorke just jotted down word for word the disconnected thoughts running through his brain, and although if most people attempted something similar, they would end up with incomprehensible rambling, he manages to pull it off flawlessly.
Listening to the album seems to transport you to a different time and place, with every song enchanting, mysterious and incredibly powerful. So far, it seems Radiohead is incapable of creating uninspiring or lack-luster music, and in a world dominated by the kids from High School Musical and the omnipresent “Hannah Montana,” it’s refreshing to know there is a band out there that still can.