Album Review: In Rainbows - Radiohead

Ever listened to a record that everybody was raving about and right after listening, not quite understanding the hype? Wasn't all you expected? Completely different than you had pictured it? That's a little like how In Rainbows was the first time I listened to it. The overall sound of the album is not what I expected considering the sound of their last release, 2003's Hail to the Thief. However, just as many Radiohead albums before it, this one takes time to grow on you. I was not surprised as this. With Pablo Honey, The Bends, and OK Computer as your only previous knowledge of Radiohead, I would be shocked if you could honestly appreciate and love Kid A on the first listen. The distinguishing attribute about this breaking-in process for In Rainbows, however, is the speed at which it happened. I had a large grin on my face throughout the whole first listen, but it was just so...different. Now, midway through my fifth listen, I am in love with this album. My fondness for this album has grown exponentially with each listen. Anyways, moving on to the album.

Radiohead's sound is both incredibly stripped down and lush at the same time. If you're a dedicated Radiohead fan like me, you know one of their trademarks is their thick, full production, never leaving out something that could add to the experience. Producer Nigel Godrich has been known (not so fondly, by many fans) to tone down the drums and bass in past Radiohead cuts, and for adding effects, from discreet to blatant, to vocalist Thom Yorke's voice. This time around, it's a whole different ball game. Yorke's voice is crisp, up front, and on many songs on the album, completely unrendered. Phil Selway's drumming is, for the most part, completely live and acoustic (as opposed to electronically mixed and tweaked in tone), and is anything but toned down. The true stars of this album, however, are the Greenwood brothers, Colin and Jonny. Colin's bass playing is booming and rhythmic (just when you thought his bass on Airbag from OK Computer was as melodic as it would get for him), and is never in the "background." Jonny's string arrangements, quite frankly, are the best he's ever written. Some are saying this a band at their peak, and that might just be true. Aside from personal preference, it's apparent that Radiohead is showing no signs of slowing down, considering that the album's special discbox release in December includes a second bonus disc of more new tracks; plenty of the creative juices have been flowing in these sessions. Ok, I'll do a review now, for real.

1. 15 Step
What was once a fun, light beat (from the tour version) is now a furious, pounding tantrum, driving the song forward from the very beginning. On the other end of the spectrum, Jonny's guitar riff is still as sweet and infectious as ever. Remember those school kids I mentioned? Well they're not clapping, like I expected. They're cheering! A few times near the end of the song, a fun "Yay!" is let out, bringing back more of the song's friendly nature that it had on tour.

2. Bodysnatchers
Once a rocker, always a rocker. This doesn't deviate from that. It rocks even harder this time around, putting some wicked distortion on that opening guitar riff. It does ease up a bit in the bridge, as opposed to the constant build from the tour version, but the breakdown near the end is as groovy as can be.

3. Nude
What is there to say about Nude? How do you make an endlessly, painfully beautiful song even more heavenly? Jonny Greenwood's genius string arrangements. We knew from a previous Dead Air Space post in February 2006 that there was to be a string quartet on this track, which is partly why this was the most anticipated track on the album for me. There is an intro now, with strings and Thom's voice, leading into the familiar bass line and drum beat. What follows is the most gorgeous four minutes I've heard since "How To Disappear Completely" from Kid A.

4. Weird Fishes/Arpeggi
The first few seconds of this track surprised me. The tour version started with the guitars of Ed, Thom, and Jonny, leading into the rhythm section's entrance, and the song was off. It now starts with Phil alone, playing the fast-paced beat, completely unrendered. This led into the song, which probably deviated the most from the tour version than any of the songs. The "weird fishes" section is accompanied by some synth pad sounds reminiscent of those on "Worrywort," the b-side from the single "Knives Out." After an added interlude, the song heads out as before.

5. All I Need
Of all of the tour bootlegs, this was honestly my least favorite. Now, it's a complete 180 degree turn from before. This atmospheric ballad is based on Yorke's piano, which is now a distorted synth. This song's climax is perhaps the most glorious of any on the album (and there's plenty of them, too), ending in an explosion of ethereal goodness.

6. Faust Arp
As I expected, this track was the acoustic track we heard on Nigel's Dead Air Space. And boy, is it ear candy. This finger-picked, folk-esque track is complimented by the best Jonny's string arrangements on the album. Think of a cross between The Beatles' "Blackbird" from the White Album and "She's Leaving Home" from Sgt. Pepper's. Already sounds serene, doesn't it?

7. Reckoner
*applauds*
Radiohead has successfully fooled every fan and critic in the world with this one. Expecting to hear the ripping guitar riff and furious opening line ("Feeling pulled apart by horses") of the "Reckoner" I'd grown to love, this was not what we expected. In fact, the title is the only similarity between the two songs. This song, driven by a tambourine and some fabulous drumming from Phil, continues the vibe of Faust Arp. With a soft riff from Jonny, some warm piano chords from Thom (or Jonny, who knows), some more tasty string arrangements, and Thom's most beautiful falsetto to date, this song is all kinds of yummy.

8. House of Cards
Perhaps the most laid-back song Radiohead's ever written, House of Cards is nearly identical to it's tour equivalent, save omitting some of the background vocals heard on the tour. This song is a good example of uber-reverb at work. The booming in the background is reminiscent of "The Amazing Sounds of Orgy," the b-side off of the "Pyramid Song" single. This song will lull you to sleep in a warm, fuzzy way.

9. Jigsaw Falling Into Place
This track is a sure standout. Building from the beginning, the intense acoustic guitar drives the track, with some low strings complementing the background vocals. The sound of this song is immensely crisp, with a powerful driving force in Phil's drumming and Colin's staccato bass line.

10. Videotape
Of all the tracks on this album, this one is the most complained about in the Radiohead community (I'm an active member on Mortigi Tempo, a Radiohead message board, so I hear plenty of other fans' opinions). What could have been described as "epic" when played live, this track has been toned down, and is now a dark, minimalistic ballad. Comprised of Yorke's piano and vocals, Colin's bass, and a drum beat that you can't really call a beat, this song exhibits the phrase "more is less." The drum beat stumbles and trips, and gives a sense of instability, which may take away from the experience for some, but for me, it just added another layer of suspense. Nonetheless, this is an undeniably haunting closer.

While In Rainbows might not have flowed as seamlessly as Kid A or OK Computer, it was no doubt very cohesive. Of course, my rating now will inevitably change over time, with more plays. As I will for all Radiohead reviews, I will give a standard star rating and set it in my rankings for Radiohead albums. I do this because Radiohead's albums, in my opinion, are simply brilliant (maybe with the exclusion of Pablo Honey...), and while some are clearly better than the other Radiohead albums, it should not take away from how it is against other music out there today.

FOR NOW: OK Computer* = Kid A > In Rainbows > Amnesiac > Hail to the Thief > The Bends >Pablo Honey

*this might have a slight advantage over Kid A for me due to its sentimental value, but based on the music, I see them equally


In Rainbows: * * * * *

Edit:
P.S. This is impressive: On the first day, In Rainbows sold 1.2 million copies.