• Artist: Radiohead
• Album: In Rainbows
• Label: Self-Released/ATO (Retail)
• Release: 2007
• Links: Official Site

Listening to Radiohead is still enjoyable, but writing about their music at this point in their career is difficult. I’m not the only one who is having this issue. Granted, the way in which In Rainbows, the group’s seventh album, was initially released was worthy of being one of the year’s most talked about stories. The problem is that the media has allowed an ingenious marketing plan to overshadow the music. I’m not sure if writers have run out of things to say about the band’s music, but it feels like it at times. I delayed my review of In Rainbows because I wanted to wait to hear the album in a higher sound quality. More importantly, I have learned that it is never a good idea to review a Radiohead album before giving significant time for it to sink in.

2003’s Hail To The Thief was arguably Radiohead’s most eclectic release to date, but that didn’t work to the album’s advantage. I’ve always felt that it was a little too claustrophobic sounding. If it is any consolation, singer Thom Yorke has expressed distaste in regards to the album’s tracklisting. In Rainbows is equally diverse, but sounds stripped down in comparison. This allows Radiohead to come off as the most relaxed they’ve been in years. I wouldn’t rank it alongside OK Computer, Kid A, or even Amnesiac, but with the exception of a few missteps, In Rainbows is a joy to listen to. I am relieved by that because I wasn’t sure if I’d ever be able to say such a thing about a new Radiohead record again.

If Hail To The Thief wasn’t the return to rock that you were hoping for, then “Bodysnatchers” should force you to relinquish any disappointment you’ve been holding on to. In fact, “Bodysnatchers” is easily the hardest Radiohead have sounded on record since OK Computer. In Rainbows contains the long-awaited release of “Nude,” commonly referred to as “Big Ideas.” On this track, Thom Yorke delivers one of the best vocal performances of his career. It took years for Radiohead to perfect this song and the dedication paid off in spades.

“Weird Fishes/Arpeggi” heads in a heavier direction than the atmospheric live version of “Arpeggi” that was spread around online earlier this year. This version isn’t as thoughtful, but still works very well. “All I Need” closes out the first half of In Rainbows and establishes itself as the album’s moodiest track. It starts off slowly, but quickly becomes the record’s emotional apex. The diverse styles of In Rainbows work better this time around because the band sounds so much less strained. Just listen to “Faust Arp,” a delicate acoustic number that showcases Yorke’s singer/songwriter side.

Yorke continues his vocal heroics with fantastic performances on “Reckoner” and the simplistic, yet sleek “House Of Cards.” In Rainbows is consistent throughout, which makes closing track “Videotape” so disappointing. This piano ballad is wrecked when an abrasive drum begins to ricochet through the proceedings, pulling the listener away from an otherwise beautiful song. The drums are actually my biggest complaint with the album. Phil Selway, historically, is a very good drummer, but his work here is far from his best. In Rainbows aims for a minimalistic approach, but the drumming is often bare to a frustrating degree.

I believe that Radiohead have already made the best music they will ever release, but that doesn’t mean that they won’t continue to put out great records. If you were doubting this after the uneven Hail To The Thief, then In Rainbows should ease your worries. To an extent, In Rainbows could be even better than it is, but after allowing it to sink in, I am mostly satisfied with it. As long as Radiohead are together, they will be discussed feverishly whenever they release a new album. In Rainbows proves that they are still capable of coming close to appeasing the ridiculous hype that surrounds their every move.

(1/6/08)

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