Still, despite being more lyrically accessible and in many ways more mainstream, "In Rainbows" does not ignore Radiohead's technical and stylistic expansion over the past 12 years. Bursts of stylistic complexity resembling "Kid A," "OK Computer," "Amnesiac" and "Hail to the Thief" explode throughout the album, making it a synthesis of the band's journey rather than a regression. For the first time in a long time, Radiohead has put out an album not to make a statement or push their boundaries, but because making albums is what they do best.
Before looking at the tracks, it is impossible to discuss "In Rainbows" without discussing the events surrounding its release. On Sept. 30, Radiohead announced through their website that they would be releasing their seventh full-length LP without a label, choosing rather to distribute it digitally only ten days later. The hype would have been big enough if they had left it at that.
Instead, they also announced the album's price, typically a dull aspect of a record's release. What was the price, you ask? Free. Or 20 dollars. Or 50 pounds. In the words of Radiohead's www.inrainbows.com website, "IT'S UP TO YOU."
Econ majors, Malcolm Gladwell and "Freakonomics" aside, this is crazy. Only a handful of artists have ever tried anything like it, and never anyone well-known enough to even open for Radiohead. By all accounts, it's a risk. Yes, for the purists among you, the album is also available in physical -- albeit expensive -- form. For a mere 40 pounds (about 83 dollars), a "disc-box" containing a double CD, 12-inch vinyl and lyric booklets will be shipped anywhere in the world starting on Dec. 3. For those of us firmly in the digital age, however, Radiohead has asked its fans what music, devoid of labels and distribution overhead, is worth to them. The band has made a move to revolutionize music distribution.
Blogs, message boards and newspapers have been ablaze with Radiohead news for the past two weeks, with topics ranging from praise of the band's bucking the norm to criticism of the record industry, disappointment with the bit-rate of the mp3 download to theoretical discussions of the moral implications of "In Rainbows."
Remarkably underrepresented in these forums is discussion of the songs themselves, or of the fact that the band has created a record worthy of its buzz. They have produced an album that matches the integrity of their last four full-lengths while appealing to a wider fan base. Incorporating the electronic glitches of "Kid A," the slower themes of "Amnesiac," the guitar focus of "OK Computer" and the urgency of "Hail To The Thief," "In Rainbows" also finds the band at their most comfortable, content but not complacent, producing eminently listenable tunes.
A stuttering, affected beat opens the album on the tight "15 Step," followed soon after by the equally jumpy but more danceable "Bodysnatchers." Reminiscent of "The National Anthem" from "Kid A," "Bodysnatchers" is a standout track on an album full of solid songs.
"In Rainbows"' third track is one of its most important, both musically and historically. Premiered on tour in Japan almost a decade ago, "Nude" was originally rumored to be part of Radiohead's "Kid A" sessions. Scrapped from that album, "Nude" finally makes a studio appearance, with a relaxed drumbeat and soaring lyrics indicating that Yorke is as ready as ever to show his vocal chops. It joins "All I Need," "Faust Arp," "House of Cards" and "Videotape" in displaying a slower side of Radiohead.
Despite being largely cohesive and steady throughout, "In Rainbows" at times seems split between aggressive guitar-driven rock and wandering, melodic, airy tunes. "House of Cards" attempts to close this gap, combining emotional lyrics with catchy guitars and drums. The result is not only brilliant, but also the most mainstream Radiohead track in 10 years.
Other tracks on "In Rainbows" play with this divide between new and old Radiohead, with large contrast between cuts like the very controlled "Weird Fishes/Arpeggi" and "Reckoner," one of the loosest and most rocking songs of the record.
Much like earlier releases, "In Rainbows" fades to black rather than rising to a climax at its finish, closing with the reflective, piano-centric "Videotape." Yorke's bare voice joins a slowly repetitive piano line, discussing pearly gates and goodbyes over the course of the album's least dynamic track. In a summary of sorts, Yorke intones, "This is one for the good days," a statement that fits perfectly. Pushing the politics, experimentation and intentional obfuscation to the background has uncovered Radiohead in its purest form, making beautiful, resonant music. "In Rainbows," no matter what it cost you, is worth it.
