Radiohead – In Rainbows: Album Review

Album: In Rainbows
By: Radiohead
Tracks: 10
Released: Oct. 10th 2007
Writer: Ryan Napier
Co-Writer: Paul Atkinson

“The infrastructure will collapse,” sings Thom Yorke on Radiohead’s new album, In Rainbows, which describes not only Yorke’s usually gloomy lyrics, but the effect of In Rainbows on the recording industry. More than enough words have been devoted to this in the past few weeks, but here’s a quick run-down, in case you haven’t heard: Radiohead, one of the most respected and commercially successful bands in the world, were without a label after their recording contract with EMI expired in 2003. The band began recording their new album in 2005, fueling two years worth of speculation over what label they would sign with. Then unexpectedly on October 1st they announced they would be releasing the album themselves in ten days, available only online through their website. Not only would the album only be released online, but downloaders could pick their own price, with even the choice of getting the album for free (another option was an $80 disc-box containing a hardcopy CD version, a double 12” vinyl version, and a bonus CD to ship out in December). No doubt some pretty revolutionary stuff (and from the looks of it, successful too; In Rainbows had 1.2 million within two days of being released), but does the music live up to the immense hype?

Fortunately, In Rainbows is more than a marketing gimmick. Radiohead is often derided (somewhat fairly) for being overly depressing and obscure, but the new album shows a different side; one of accessibility and emotional power. Of course, there are the standard downers—the album’s closer, “Videotape,” is about a dying person recording their last message onto VHS, set over three droning piano chords and some morose electronic blips—but there are just as many upbeat, personal moments; “House of Cards,” for example, has Yorke singing “I don’t want to be your friend/I just want to be your lover,” with a slow reggae grooving guitar riff and an array of ambient strings. “Weird Fishes/Arpeggi” sounds likes it’s about to turn into a murky let-down as the guitars drop out and Yorke sings “I get eaten by the wolves/And weird fishes,” but then the beautiful, spacey guitar riff returns and everything’s okay again: “I hit the bottom and escape.”

Just because the lyrics are nakedly honest and emotional doesn’t mean the album’s sound is stripped down. Very few of the songs include the kind of electronics that characterize the band’s later work (Kid A onwards) and that have alienated many listeners, making In Rainbows friendlier to a wider audience. Instead of electronic noise, Radiohead opts for lush orchestral arrangements, fleshing out a melodic side that hearkens back to early work like The Bends. Additionally Yorke’s voice is fully explored on this album, best showcased on the ethereal “Nude,” with its layered vocal harmonies backed by moving strings, as well as on “Faust Arp,” which finds him almost chanting to a baroque acoustic guitar and orchestra. The heavy orchestra/vocal harmonies make this Radiohead’s “prettiest” album, full of densely melodic songs: including the aforementioned “Nude” and “Weird Fishes/Arpeggi,” as well as “Reckoner” and “All I Need,” a piano drenched tune that explodes into a white noise climax, one of the best moments on the album.

That’s not to say it doesn’t rock. “Bodysnatchers” lets guitarists Jonny Greenwood and Ed O’Brien loose in a fiery guitar frenzy, both blasting an epic amount of noise over a rhythm guitar riff that sounds like it’s being played out of an amp about to blow out. The opening track, “15 Step,” rocks just as hard while highlighting the often neglected rhythm section of Colin Greenwood on bass and Phil Selway on drums. With its funky 5/4 beat and their sporadic array of off kilter percussion, this song is meant to be played as loud as your speakers can handle. Greenwood and Selway are at their best on this album, underpinning the otherworldly vocals and strings with intricate, almost danceable, beats. “Jigsaws Falling Into Place,” for example, brings all these elements together: it starts with a tight bass and drum beat over a Spanish-sounding acoustic guitar riff, then breaks open and spills out as both guitars come in with Yorke howling, “Wish away the nightmare/You’ve got a light/You can feel it/On your back.”

Like all great albums (and all Radiohead albums), In Rainbows takes multiple listens to fully understand, though once it has sunk in, it fills a musical gap no other band can satisfy. Their unique sound allows for a nearly infinite replay value: I listened to it at least three times the day it was released and more since, and still haven’t got fully appreciated or tired of it. The album ranks among Radiohead’s best work and shows that they’re not content to just rehash and recycle. In both marketing and music, In Rainbows is a revolution.

5 Out Of 5 Stars