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THOM YORKE

Crossover Prog • United Kingdom


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Thom Yorke biography
Thomas (Thom) YORKE was born in the Northamptonshire town of Wellingborough (UK), but later moved to Oxfordshire where he met his future RADIOHEAD band mates and with them formed a school band called ON A FRIDAY. On leaving school he attended the University of Exeter where he was a member of melodic punk band HEADLESS CHICKENS and a techno/electronic band called FLICKERNOISE. After University, YORKE and the other members of ON A FRIDAY returned to Oxford, where they changed the band name to RADIOHEAD.

In 2006, announced on the RADIOHEAD web site that he was recording a solo album that was to be 'more beats and electronics', which led to speculation that the band were breaking up, which YORKE quickly denied - he has also remarked that he had recorded the album to find out what it feels like not to be in a band and that he has no immediate plans to release any more solo albums.

Two months after the initial announcement, the album '"The Eraser" was released to immediate critical acclaim and commercial success. The album went on to gain nominations for the Mercury Music Prize and the 2007 Grammy Awards (losing out to ARTIC MONKEYS and GNARLS BARCLAY respectively). Featuring mainly electronics and processed samples culled from RADIOHEAD recording sessions, with occasional piano and guitar and YORKE's inimitable voice, "The Eraser" relies heavily on the groundwork set by "Kid A" and "Amnesiac" to create a sonic environment that would be familiar to fans of either of those albums.

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Eraser: RemixesEraser: Remixes
Import · Limited Edition
Xl Recordings Int'l 2008
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Ciao My Shining Star: The Songs of Mark MulcahyCiao My Shining Star: The Songs of Mark Mulcahy
Shout Factory 2009
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Spitting Feathers, 5 B-Sides and 1 Video [EP]Spitting Feathers, 5 B-Sides and 1 Video [EP]
Single · EP · Import
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FeelingPulledApartByHorses / TheHollowEarth [Vinyl]FeelingPulledApartByHorses / TheHollowEarth [Vinyl]
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Single · Import
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THOM YORKE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THOM YORKE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.46 | 35 ratings
The Eraser
2006
3.15 | 22 ratings
Atoms for Peace: Amok
2013
3.31 | 7 ratings
Tomorrow's Modern Boxes
2014

THOM YORKE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

THOM YORKE Videos (DVD, Blu-ray, VHS etc)

THOM YORKE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.15 | 4 ratings
The Eraser Rmxs
2008

THOM YORKE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 2 ratings
Spitting Feathers
2006
4.00 | 1 ratings
Burial + Four Tet + Thom Yorke - Ego / Mirror
2011
3.00 | 1 ratings
Atoms for Peace - Tamer Animals/Other Side
2012
2.00 | 1 ratings
Atoms for Peace: Default
2012

THOM YORKE Reviews


Showing last 10 reviews only
 Tomorrow's Modern Boxes by YORKE, THOM album cover Studio Album, 2014
3.31 | 7 ratings

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Tomorrow's Modern Boxes
Thom Yorke Crossover Prog

Review by admireArt

3 stars Progressive Dub-Step?

Thom Yorke's 2014, third "solo" release,"Tomorrow's Modern Boxe"s plays again his abstract environmental concept of "electronic" music, which outside prog or PA, covers a fair amount of sub-taggings. From Dub-Step to "Electronica", Trance, Psych-Trance, Drum And Bass, Techno and to many others electronic stylings. It will turn out an oddity, that this kind of electronic styles or sub-genres will appeal to the average prog audiophile, who hardly considers this to be prog.

I will agree on this by the cold fact of how oblivious the prog community is of their own Progressive-Electronic genre. Anyway, this project is not the best defense for this outside prog "electronic" music.

Music wise it starts with the most memorable song of the album and from there everything becomes a super-extended remix of ambiental dub-step passages alongside Yorke's eerie and boyish manner of singing. Some splendid highlights here and there but composition wise I have heard a thousand guys doing this, and Thom Yorke's proposals are quiet lame in comparisson.

Although the impeccable sound-engineering, (which in this kind of music it is the usual), the un-melodious abstractions as such sound completely replaceable, I mean you could take away or remove any song but the first, and it will be the same.

Referentials>Brian Eno has worked with these structures , even before playing with Karl Hyde, he has many extraordinary results, which could outstand any of these tracks, composition wise of course. Karl Hyde's (not included "solo" here in PA), 2013 "Edgeland" also could teach Yorke a trick or two!

Could appeal to prog Electronics or Post-Math followers or Radiohead's heads

***3 "Good, but there are better" PA Stars

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 Atoms for Peace: Amok by YORKE, THOM album cover Studio Album, 2013
3.15 | 22 ratings

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Atoms for Peace: Amok
Thom Yorke Crossover Prog

Review by zeqexes

3 stars This is an album which is very electronic and features many intricate and complex beats and textures. It seems that this was perhaps the purpose of creating the album; to have a bunch of songs which are sonically intriguing. If this was Atoms for Peace's purpose for this album, then they've succeeded. The songs are sonically interesting. But it is a lack of songwriting which is what makes this album flawed. Most of the tracks get boring after a couple of minutes because the same beats are played over and over again, and the vocals aren't often singing a discernible melody. Still, it's not a mess of an album, and it contains some standout tracks (Ingenue and Unless).

Before Your Very Eyes?: Features a dance beat, with an ostinato being repeated over the top. Thom's vocals are simple and dreamy, but they aren't what stands out; what stands out is the overall feeling and atmosphere of the song, which is quite dreamy while still having a beat underneath. As is the case with many of the other songs, you have trouble discerning what sounds come from a computer and what sounds come from an instrument. The track gets boring after a few minutes, and it doesn't work fantastically as an album opener. 4/10

Default: Opens sounding a bit like video game music, but quickly turns into an experimental electronica track. The vocals are more prominent in this song when compared to 'Before Your Very Eyes'. The textures underneath the vocals are almost all electronic sounds. There's some cool synth-sounding stuff, and complex beats. It's slightly more interesting than the first track. 5/10

Ingenue: Opens with strange sounding synth sounds, but is soon accompanied by a beat underneath and vocals. The feel to the song is quite dreamy. The main negative point is the fact that there's too much repetition and not enough change to keep interest. Still, it's an enjoyable song. 8/10

Dropped: Has a repetitive sounding beat. This is a song which finally has some different sections and changes things up. While this is the case, it's not a very interesting track. There are more mellow bits, and more intense and busy parts. I like that about the song, but unfortunately the music itself isn't very interesting. 6/10

Unless: One of the best tracks so far. The vocals and music feel quite urgent sounding, in a good way. The textures from the electronics are intriguing, and the backwards singing about halfway through is actually pulled off pretty well. 8/10

Stuck Together Pieces: The bass ostinato is mildly interesting at the beginning, but it's not really enough to keep interest. The acoustic guitar that starts about halfway through adds interest but sounds a bit wrong. Like the other tracks, it gets boring towards the end because the same things are repeated over and over. 4/10

Judge, Jury and Executioner: The textures within this track are quite enjoyable. The overall feeling of the track is nice, but isn't a very captivating track in terms of songwriting. The acoustic guitar works much better here than on 'Stuck Together Pieces'. The Radiohead song that has the same title as this song is a better song than this one. 6/10

Reverse Running: The electronic beats that open this song are complex and intricate, and are odd and uneasy. Electric guitar on this song adds another texture to the beats and vocals. I don't really have much to say about this song; it's a fairly bland track with some intriguing beats. 3.5/10

Amok: It opens sounding like it could be one of the few good tracks on the album, with more complex beats continuing from the start until about 1:30 through, when some quiet and processed vocals join. Quite an atmospheric song. It suffers from the same problem that most of the other songs suffer from, which is that it doesn't really go anywhere but just repeats itself. Actually works pretty well as an album closer though. 6/10

Positives about the album: The complexity of the electronics, the intriguing textures Negatives about the album: The songs aren't very interesting and don't have much change.

Average: 5.6/10 = 3/5

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 The Eraser Rmxs by YORKE, THOM album cover Boxset/Compilation, 2008
4.15 | 4 ratings

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The Eraser Rmxs
Thom Yorke Crossover Prog

Review by jude111

4 stars It's a big mistake to dismiss remixed versions of Radiohead and Yorke, especially those coveted and put out by Yorke and the band themselves. DJs often incorporate Radiohead in their mixes - for example, see the classic Body Language Vol. 4 mix by Dixon, which includes Yorke's track "The Eraser," or Ellen Allien's Fabric 34 mix, which features Yorke's "Harrowdown Hill." No other rock band till now has been so successfully remixed, and by so many heavy-hitters, as Radiohead/Yorke. Here's a track-by-track run-down of The Eraser RMXS:

1. Burial was fresh off of his twin masterpieces Burial (2006) and Untrue (2007) when he remixed Thom Yorke's track. What a coup for Yorke! I may be biased (after all, my avatar currently features Untrue's album cover), but I think every single track Burial has released is crucial - like Robert Johnson's was. (I'm not exaggerating.) Furthermore, Burial's only remixed six tracks by my count. Still, I rank this behind his towering remixes of Bloc Party's Where Is Home? and Massive Attack's Paradise Circus, as well as his remix of Jamie Woon's Wayfaring Stranger. By the way, in 2011, Yorke, Burial, and Four Tet collaborated on the Ego/Mirror EP.

2. Surgeon is the DJ I know the very least about on this collection. I prefer the original version, which had more tonal colors, but this version doesn't differ all that much.

3. Before Burial's identity was apparently outed, many speculated that he was in fact The Bug. The Bug's brand of dancehall dubstep channeled a similar dark, paranoid, urban dystopia as Burial's music. Similarly, both released tracks for Kode9's Hyperdub label. (Both Burial and The Bug are featured prominently on the great compilation entitled Five Years of Hyperdub.) There are only a handful of truly great dubstep albums, and The Bug has released two of them: London Zoo (2008), and Waiting For You (2009), released under his King Midas moniker. The Bug's remix of Yorke's Harrowdown Hill is a fine track, and wouldn't be out of place on his London Zoo album.

4. Modeselektor is an electronic duo from Berlin. Yorke is a big fan, and has sung on two Modeselektor albums (including the highly-recommended track The White Flash, also from 2007). I prefer this version to the original version on The Eraser, which was never my favorite track. Modeselektor additonally contributed a remix to The King of Limbs remix album.

5. This remix album apparently helped establish a deep friendship between Yorke and other performers on this album, including Four Tet, who has since collaborated with Yorke on a few occasions, and also contributed a track to Radiohead's King of Limbs remix album. Again, a nice remix here.

6. The Field is a German-based Swedish DJ, and a major act on the Köln/Cologne-based Kompakt label, which is one of the truly, truly great electronic music labels. Furthermore, The Field were fresh off releasing arguably their greatest album, 2007's From Here We Go Sublime. While all the other remixes thus far have been respectful to the original versions and didn't tamper too much with the structure of the tracks, The Field have utterly deconstructed it. I love this remix - it's unrecognizable from the original version, and it's done in The Field's inimitable, minimalist style that makes Kompakt such a compelling label in German techno.

7. Christian Vogel is another EDM artist I'm not terribly familiar with, although his name pops up alot. He's released tracks on the Warp and Tresor labels, which is a pretty good indication of his stature. Furthermore, he's featured *twice* on this remix! Both are excellent remixes, one of my favorites on this album.

8. Various Productions is another EDM artist I'm unfamiliar with. This is the one remix I could do without, it's a bit over the top, and too brash for my liking.

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 Atoms for Peace: Amok by YORKE, THOM album cover Studio Album, 2013
3.15 | 22 ratings

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Atoms for Peace: Amok
Thom Yorke Crossover Prog

Review by jude111

2 stars After releasing the brilliant and criminally underrated The Eraser in 2006, which largely consisted of music put together on his laptop, Yorke put together a band to tour this album. Longtime Radiohead producer and collaborator Nigel Godrich and Red Hot Chili Peppers bassist Flea were among those recruited. They managed to play for something like a year without a name; finally, Yorke christened them "Atoms for Peace," named after one of the tracks on The Eraser CD. While I wasn't able to catch any of their shows live, the stuff that I've managed to hear (via Youtube and other less reputable sources) are just amazing. As much as I love The Eraser, the live performances are arguably even better. Truly, at some point Yorke needs to release an official CD and DVD of their amazing performances.

What we get in the interim is this. Released under the moniker "Atoms for Peace" (no one is fooled, this is a Yorke album through and through, with, as usual, Godrich's considerable imput), Amok's recording history is rather interesting, and can be thought of as experimental: At some point a year or two a go, the "band" went into the studio and simply jammed for a few days. Yorke took the tapes home, and with his computer basically went to town on the recordings. So far, so good. Sounds like a great way to make an album. Miles Davis and his producer Teo Macero did something similar, and they came up with "Bitches Brew."

Unfortunately, unlike The Eraser, Amok simply doesn't have the tunes. I've been listening for a week now, and still there's nothing for me to grab on to, no melody I can hum, nothing I can sing along with, no lyrics that jump out, no melodies burning their way in. Sure it has its moments, - for example, the beginning of "Ingenue" and the end of "Reverse Running" are rather gorgeous-sounding - but overall the album isn't compelling, the songs don't seem to go anywhere, and lack the kind of urgency Yorke usually brings. I don't want to give the wrong impression: the album is amazing sonically. Often here though I get the feeling Yorke's voice is more a hindrance to the sound, and some of these tracks would sound better as instrumentals. (Perhaps I need to accept the album for what it is, rather than what it isn't, and when I stop resisting, I'll come to terms with it and appreciate it.)

After the rather disappointing King of Limbs from 2011, I had high hopes for this album. But that album is looking pretty good now, when set alongside this. Who knows, after time I might revise my opinion and look upon it more favorably. For now, however, it's highly underwhelming, and one of my biggest disappointments in recent memory from any band I can think of. I'll keep trying, because I'm convinced of Thom's genius, I *want* to love this album, and I know he has a lot of great work left in him.

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 The Eraser by YORKE, THOM album cover Studio Album, 2006
3.46 | 35 ratings

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The Eraser
Thom Yorke Crossover Prog

Review by Earendil

3 stars Basically, if you like the trippy, electronic Radiohead sound from albums like King of Limbs, then you'll like this album. If not, there's really no need to bother, but it actually is a very strong effort. It would be easy for The Eraser to have turned out as a sort of Radiohead B-material collection, but it manages to branch away from doing so. The music feels very personal and even spiritual for most of the album. Thom's first solo album is essential for a Radiohead fan, and can be enjoyed by anyone else. Thom's first solo album is essential for a Radiohead fan, and can be enjoyed by anyone else.

Rating: 7/10

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 The Eraser by YORKE, THOM album cover Studio Album, 2006
3.46 | 35 ratings

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The Eraser
Thom Yorke Crossover Prog

Review by jude111

5 stars I'm apparently in the minority, but I believe THE ERASER to be superior to the fine but over- rated IN RAINBOWS CD. (Apparently Kanye West also believes this, according to reports.) Yorke was working on both simultaneously, and for me his heart was clearly in this, his first solo album. I think that time will treat this album much kinder than RAINBOWS (which contains one masterpiece, "Weird Fishes/Arpeggi," but is otherwise not on par with past efforts by Radiohead).

THE ERASER picks up where KID A, AMNESIAC, and HAIL TO THE THIEF left off (although it's more cohesive than HTTT). The opening track "The Eraser" is nearly as compelling a beginning as KID A's "Everything In Its Right Place." The second track, "Analyse," is a grower. (Thom did a stunning solo keyboard version for XFM Radio, which can be found on Youtube, and which sounds remarkably like Cliff Martinez's marvelous score for the 2002 film version of 'Solaris'.) Next track "The Clock" is sonically beautiful, and reminds me a lot of Icelandic electronic band Mum's classic "Smell Memory." (Surely this was an influence on Yorke.) The best song might be "Harrowdown Hill," about David Kelly, a British UN weapons inspector in Iraq who mysteriously died days after testifying to Parliament that the Bush-Blair governments were fabricating evidence about weapons in Iraq. In fact, this album is obviously a passionate and angry album, which lends an immediacy to Thom's voice.

I know most won't agree, but to me these songs are better than anything than on IN RAINBOWS, besides the aforementioned "Weird Fishes/Arpeggi." While IN RAINBOWS found the band retreating from the electronica experiments the band had earlier pioneered, THE ERASER delves further into this realm.

BTW, fans of this album should check out German electronic band Modeselektor's album HAPPY BIRTHDAY, released around the same time, which contains the song "The White Flash" featuring Yorke on vocals. It's another Yorke masterpiece in the same vein as THE ERASER.

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 The Eraser by YORKE, THOM album cover Studio Album, 2006
3.46 | 35 ratings

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The Eraser
Thom Yorke Crossover Prog

Review by Neu!mann
Prog Reviewer

3 stars The first solo album by RADIOHEAD's primary spokesperson was cut from the same high-tech cloth as his band's post "OK Computer" efforts, with lots of electronic blips and squeaks and lacking the reassurance of a genuine rhythm section. Perhaps not surprisingly, it sounds very much like a package of homemade demos for a never produced Radiohead album, and as such offers a valuable peek into the creative gears of that (rightfully) praised group (guitarist Jonny Greenwood's atmospheric chamber- orchestra soundtrack to the film "There Will Be Blood" is another missing link in the same aesthetic chain).

The too-slim 41-minute running time (barely album length in a digital age) includes at least one potential classic: "Analyse", easily the most overtly Radiohead-like song of the entire set. It could have been an outtake from the "Kid A" or "Amnesiac" sessions, and thus from my not unbiased perspective is the best thing here.

Elsewhere the album presents a brace of post-modern ballads for our wired new millennium, showing what a single motivated artist with a laptop is capable of. Bandmate Jonny Greenwood is on hand for support, but only on piano; Yorke himself is otherwise given credit for 'all instruments and programming'. But of course these days the programs 'are' the instruments.

The results aren't entirely as antiseptic as you might expect, however. The singer's quavering voice provides a welcome human touchstone in what can sometimes seem like a sterile technological experience. Listen for example to the song "Atoms For Peace", and tell me he doesn't remind you of Joni Mitchell: an odd comparison maybe, but not an unflattering one (I hope).

Bottom line: it's a valuable windfall to latter-day Radiohead fans starved for new material, and a worthwhile diversion for students of electronic music who might have been wondering about the legacy of Ralf Hütter and Florian Schneider.

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Thanks to dean for the artist addition.

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