IN RAINBOWS

Upon first hearing this album I felt as though Radiohead had taken a step backwards, to a sound more akin to the traditional rock found on the bends or OK computer. I was wrong. Really. This is one of the best albums I'll ever own.

It's strange how Radiohead mirror The Beatles in both innovation and phases in their careers.

Allow me to point out the parallels. THE BENDS- RUBBER SOUL Both bands have moved beyond their pop beginings and begun to touch on more serious subject matter, while retaining much of their old sound. OK COMPUTER- REVOLVER The bands have now thrown caution to the wind and have made hugely experimental, epic and risky decisions within the rock framework KID A- SGT PEPPER AMNESIAC- MAGICAL MYSTERY TOUR Each band released two closely related albums that show just how out there and druggy they can be. HAIL TO THE THIEF- THE WHITE ALBUM Both band release really long albums encompassing pretty much every sound that came before, in a new way.

So IN RAINBOWS can be equated to be Radioheads LET IT BE. A short collection of seemingly straight forward songs that are actually much deeper than they seem.

The sheer number of textures and timbres is staggering. Each song employs the use of strings or bells or piano or electronic atmospherics or even yelling children. The guitar tones are everything from soaring to crunchy to clean and space-jazzy. Simply put: the palate of the album is awesome. The bass is always groovy in the best way possible.

Another observation: It seems that Radiohead has discovered minimalism. This isn't surprising when one takes into account how influenced they are by classical music. Many a composer have tried to work with minimalism after reaching a certain level of maturity. Each song, it seems, is stripped down to one basic sound, or element before a barrage of layers are stacked back upon it. Sometimes there will be only drums, or bass, or (as in Nude) all instruments will drop off of a cliff and leave only Thoms vocals. The result is astounding and exhilarating.

The songs themselves are structurally magnificent. 15 Step is very percussive and employs an obscure time signature. This one is really really good. Bodysnatchers is an all out free for all. Each member seems to have been given permission to do whatever he chooses, following no clear form until the excellent spacey portion in which Thom echoes on about the 21st century. This one had to grow on me. Nude is a slow and sultry number. Tons of dynamic shifts here. Some of the most beautiful music ever put to record. Weird fishes may be the best track on the album (for me). It's definitely the most jazz oriented track on the album, and the way the sounds build and build over time is amazing. By the time all of the sounds reach climax, I have a hard time comprehending whats even happening. Also it is interesting that during the epic conclusion he doesn't choose the loud yelling and instead goes with a low deep voice, "i hit the bottom and escape" which adds intensity is a different, more interesting way. All I Need is another sultry track, through far more groovy and dark than Nude. The second verse is augmented by some awesome orchestration with cellos and bells. Then the piano kicks in at the end. The whole band goes into a fury. Thoms voice seems to be lost in it all, and no matter how loud he yells, he can't break into the forefront. It creates a really nice effect, and seems to be the moment that he is "in rainbows" of sound and sensation. Faust arp is a great acoustic song. A really good arrangement and a complicated melody are the focal points here. Good lyrics too. Reckoner exists on two distinct planes. It's really fast, with a brilliant percussion section, and it's also heart breakingly slow. The lyrics sweetly flow over the pulsation. This song also has the best vocal breakdown since Paranoid android. It's even better, (if shorter) I thought house of cards was boring at first. I was SO wrong. It is repetitive in a way, but like all great repetitious Radiohead songs (National Anthem or I Might Be Wrong), the variance is underneath the surface. Good Stuff. Great Stuff. Relaxing. Videotape was difficult for me, and upon writing this review I must still admit that I probably haven't "gotten" all that there is to be got. But was I do know that this is both a pretty slow song, like an old McCartney track, but then come the drums and other sounds. It is a portrait of fragmentation. It feels broken and fractured while the pretty song still proceeds behind it. But the brokeness takes the foreground. Very interesting that they leave us on that note.

For now... The additional 8 tracks might change the way the album feels on whole. I cant wait to get them. This is as good as music gets people. And is embodies everything that prog-rock is at the most basic level. There's just as much classical grandioseitude here as on CLOSE TO THE EDGE, or any other prog album. It's just chopped into smaller parts. And you just have to listen closely to hear it.

The final note is that of the production. Radiohead has employed the same producer for all of their main albums. Nigel Godrich (Much like the beatles and george martin) His work here is amazing It's the cleanest production I've ever heard, and I only have the 320 kbps download. Great great job.